The Iconographic School of Berat

Adriana QAFA

Andrea LLUKANI

Abstract: The Iconographic School of Berat developed during the 16th-17th centu­ries. It is based on the artistic spirit of the great master of Albanian iconography, Onufri from Neokastra (Elbasan). This school played an important role in Albanian iconographic art during the 16th and 17th centuries, with Onufri’s followers, among whom stood out Onufri’s son, Nikolla, along with his collaborator Joani, Onufër the Cypriot, and many other iconographers who preferred to remain anonymous. Onufri’s artistic activity in Albania is immortalised in the frescoes and icons of churches: “Saint Kolli” in Shelcan, “Saint e Premtes” in Valësh, in Shpat of Elbasan, “Saint Todri”, “Annunciation,” and “Saint Mitri” in the fortress of Berat. Onufri is thought to have been from Elbasan. There is little information about his family background. Only his son, Nikolla, is known, who learnt the art of iconogra­phy from his father. Onufri was a clergyman, holding the title “Protopapas,” mean­ing “First Priest”. The data provided by the church inscriptions reveal that Onufri carried out his activity in the 16th century. Onufri was a married priest and had chil­dren, of whom only one became well-known. This was Nikolla, who continued the family tradition. This is confirmed by an inscription written by Nikolla himself on the western door inside the church of “Saint Mary Vlachern” in Berat. The inscription says that the painter is Nikolla, the son of Onufri. Another iconographer who digni­fiedly represents the “Iconographic School of Berat” is Onufër the Cypriot, who was of Greek origin but carried out his activity in the churches of Berat. Seven icons of his works have survived, which contain inscriptions providing his name, surname, and the year of painting. There is no information regarding his date of birth, but scholar Vitaliotis believes that in 1570, Onufër the Cypriot was wounded during the siege of Nicosia, where he lost one of his hands. In these circumstances, in 1582, the Cypriot left his birthplace and settled in Venice. It is believed that in 1591, he came to Berat.

Keywords: The Iconographic School of Berat, Onufri, Nikolla son of Onufri, Onufri the Cypriot.

The Iconographic School of Berat

The Iconographic School of Berat developed during the 16th-17th centu­ries. It is based on the artistic spirit of the great master of Albanian icono­graphy, Onufri from Neokastra (Elbasan). This school played an im­portant role in Albanian iconographic art during the 16th-17th centuries, with Onufri’s followers, among whom stood out his son Nikolla, along with his collaborator Joani, Onufër the Cypriot, and many other icono­graphers who preferred to remain anonymous¹.

Onufri

Some scholars, such as Viktori Puzanova², Theofan Popa³, Moikom Zeqo⁴, Dhorka Dhamo⁵, etc., identify Onufri as a representative of the Berat School⁶. Onufri’s artistic activity in Albania is immortalised in the fres­coes and icons of the churches: “Saint Kolli” in Shelcan, “Saint e Premtes” in Valësh, in Shpat of Elbasan, “Saint Todri”, “Annunciation,” and “Saint Mitri” in the fortress of Berat⁷.

Onufri is believed to have been from Elbasan⁸. There is little infor­mation about his family environment. Only his son, Nikolla, is known, who learnt the art of iconography from his father. Onufri was a clergyman, hold­ing the title of “Protopapas” which means “First Priest”. According to the data provided by church inscriptions, we learn that Onufri carried out his activity in the 16th century.

The earliest inscription where Onufri signs his name dates back to 1535. It was found on the southern wall between the scenes of “Saint Constantine and Helena” and the strategists “Saint Theodore Tiron and Theodore Stratilates” in the church of the “Transfiguration of the Saviour” at the monastery of Zerze in Prilep⁹. Al­so, in Prilep, in 1535, Onufri painted the church of “Saint Nicholas”. On the “Deesis” icon, under the feet of Saint Mary, the year 1535 is written. In 1537, Onufri painted the church of the Moldavica Monastery in Moldova¹⁰. In 1547, Onufri painted the frescoes of the church of the “Forty Martyrs” in Kostur, financed by the Muzaka fami­ly. In an inscription found on the northern wall of the church, it is writ­ten: Ο ΙΣΤΟΡΙΣΑΣ ΟΝΟΥΦΡΙΟΣ ΤΟΥ ΑΡΓΙΤΗ ΕΚ ΤΗΣ ΛΑΜΠΡΟΤΑΤΗΣ ΠΟΛΕΟΝ ΒΕ(ΡΑΤΙ)ΟΝ — “Painted by Onufri, recently arrived from the glorious city of Berat”¹¹.

According to Dhorka Dhamo, Onufri’s artistic activity can be sum­marised in the itinerary: Berat, Prilep, Kostur, Shpat. His starting point is Berat, appearing in 1535 in Prilep, then in Kostur¹² in 1547, and later in Shpat in 1554. It is believed that after 1554, he returned to Berat¹³ again.

In 1951, an expedition by the Ar­chaeological and Ethnographic Muse­um¹⁴, discovered an inscription by Onufri in the church of “Saint Kolli” in Shelcan¹⁵ (a village in the Shpat region, Elbasan County). The inscrip­tion is written in Byzantine Greek by the hand of the great master Onufri and is located on the northern wall of the church, near the altar table. The text of the inscription was translated by Theofan Popa: + Οταν εισ Θ(εο)ν εκπετασισ / τασ χειρασ σου ω Θ(εο)υ θυτα, / μνησθητι κ(αι) εμου του αμαρτωλου / και αμαθουσ Ονουγριου ζωγραφου When you raise your hands to God, O priest of God, remember also me, the sinner and ignorant paint­er, Onufri”¹⁶.

The content of this inscription suggests that Onufri at that time had not yet been ordained as a clergyman, as he is asking the priest to remember him during the preparation of the sa­cred offerings. It is believed that this inscription must have been written before 1554, because based on anoth­er inscription by Onufri in the church of “Saint e Premtes” in the village of Valësh in the Shpat region, there is also this addition: ……../ μνησθητι καμου του αμαρτωλου / Ονουγριου ιερεος, ζωγραφου κ(αι) πρωτοπαπα Νεοκαστρου”……. “remember also me, the sinner, Priest Onufri, the painter and Protopapas of Neokastra”¹⁷.

On the southern part of the western wall of the church is the inscription, through which we learn that the vil­lage of Valshakë dedicated this church to the great martyr Saint e Premtes, and the painter was Onufri. Ουτος ό αγιος ναος τής αγιας μεγαλομάρτυρος Παρασκε / υης …πόθου της αύτης χώρας, ει…λιδε / …κ..ό ζωγράφος Ονουφριος….” This holy temple of the great martyr Saint e Premtes… by the will of this village.26 painted by Onufri…”¹⁸.

The church of “Saint e Premtes” in the village of Valësh in Shpat was painted at the expense of priest Gjergj Logotheti in 1554. This is confirmed by the inscription painted on the northern part of the western wall of the church, from which we learn that Gjergj Logotheti was the priest of the church of “Saint Friday”. The inscrip­tion also informs us that he paid in “oblla,” a type of currency used in Byzantium¹⁹.

In 1956, an expedition from the In­stitute of Sciences discovered six fres­coes by Onufri in the church of “Saint Todri” in the fortress of Berat, which do not contain any inscription by the author. According to Dhorka Dhamo,” … Onufri is a painter of high talent, who skilfully masters the brush and artistic expression. In Onufri’s paintings, the scenes appear lifelike. Alongside the general realistic tendencies in his work, we also find many details from everyday life. In the scene of the Nativity of Christ, the shepherd’s pumpkin and the embroi­dery reflect the ethnographic back­ground of our country. His coloring is distinguished by its purity and reso­nant tone. By working  with 5-6 basic tones, he achieves perfect combina­tions of colors” ²⁰.

In addition to his mural paintings, Onufri also created numerous mova­ble icons, among which we can high­light those from the “Vangjelistra” church, the “Holy Trinity,” and “Saint Mitri” in the fortress of Berat. In the composition of his icons, Onufri strictly adheres to the Byzantine tradi­tion and the canons of the church. What sets him apart is that in the modelling and arrangement of the details of biblical scenes, we encoun­ter many life-like elements. Onufri’s scenes are composed in real positions, with lively movement and expres­sions. This is evident in scenes with saints, such as “Saint Constantine and Helena”²¹, “Saint Demetrius of Mirrovli”²², etc. His icons depict bib­lical passages, such as “The Nativity of Christ.”, “Ipapandia”²³, “The Entry of the Blessed Virgin Mary into the Temple.”, “The Transfiguration”, etc²⁴. The iconographic art of Onufri is created with striking tones, filled with light, where his unique red stands out. The scenes of the feast icons painted by him are mesmerising in terms of the painting mastery. The decoration and the rich colouring of Onufri’s icons have their own surpris­ing magic. The icons are created in such a way that they invite the believ­er to meditate within them, to venerate them, and to be captivated by their expressive power. Onufri’s icons can today be found in the museums of Albania. In the post-Byzantine icon pavilion at the National Historical Museum, an icon by Onufri is exhibit­ed: “The Entry of the Blessed Virgin Mary into the Temple,” which origi­nates from the church of the “Annun­ciation” in Berat²⁵. At the National Museum of Mediaeval Art in Korça, eight icons by Onufri are exhibited²⁶. The most perfect work is the Beautiful Doors²⁷ of the iconostasis of the church of the Annunciation in Berat, where Onufri has poured all his talent. Additionally, at the “Onufri” National Museum in Berat, eight icons by Onufri are exhibite²⁸.

“Christ Pantokrator” by Onufri represents the classical type according to the pictorial canon. He is depicted from the waist up in a frontal position. His portrait is surrounded by a metal­lic aureole with a cross and his initials (IC XC). Christ blesses with his right hand and holds an open book (the Gospel) with golden letters near his chest in his left hand. This is a tradi­tional type of Christ dating back to the time of Justinian (6th century) and remains one of the most beautiful icons created in Albanian iconogra­phy. The icon of Christ Pantokrator by Onufri of Cyprus (16th-17th century) and other icons of this type are exam­ples of this tradition.

In the collection of the National Gallery of Arts in Tirana, there is an icon titled “Shestja”²⁹, which is part of the twelve icons depicting the main feasts of the church.

The icons of Onufri are harmoni­ously composed in terms of colours. Onufri stands out for his perfect form in the creation of the image, establish­ing a colouristic balance with the dominance of red, which he uses in a highly masterful way³⁰. Onufri was the first iconographer to use golden ribbons in decorating the garments of the saints. The icons painted by Onufri are distinguished by powerful light, vivid colours, and the dynamism of the characters. In the realisation of the details of the saints’ figures, deep psy­chological expressions are evident, which the artist achieves with power­ful graphic tools, using illuminating lines. By using strong light in the eye area, he reflects the psychology of the saints’ portraits. The depiction of fig­ures in Onufri’s icons is characterised by lively expressions, movements, and powerful spiritual expressions³¹. His followers in their works were greatly influenced by him, but they did not reach the heights of Onufri’s mastery³².

Nikola, the son of Onufri

Onufri was a married priest and had children, one of whom became well-known. His name was Nikola³³ who continued the family tradition. This is confirmed by an inscription³⁴ written by Nikola’s own hand on the western door inside the Church of “Saint Mary of Vllaherna” in Berat³⁵.

The inscription states that the painter is Nikola, the son of Onufri, the year 7086 according to the Byzantine calendar and 1578 accord­ing to the Gregorian calendar. In this case, Nikola is identified as the son of Onufri. We can assume that by 1756 Onufri had passed away, and his son Nikola appears as the continuer of the work of the great master of Albanian iconography. On the northern wall of the church, near the niche of the prothesis, in the apse of the Church of “Saint Mary of Vllaherna,” there is another inscription.: +Οταν είς Θ(εό)ν έκπετάς(ης) τάς χείρας ό θ(εο)ύ θύτα μνή / σθιτη κάμού (τού) άμαρτολού / καί αμαθούς ζωγράφου / Νικολάου. άμίν. “When you raise your hands to God, O priest of God, remember also me, the sinner and ignorant painter Nikola. Amen”³⁶. In the summer of 1960, an expedition led by Theofan Popa discovered an icon of Saint Mary in the Church of “Saint Mary of Vllaherna” in Berat. On the back of the icon, there was an inscription by Nikola along with his autograph: “…. Nikola of Onufri”. Next to the inscrip­tion, Nikola had also drawn a sketch of a saint.

Also, in Kurjan, Fier, in the Church of “Saint Nicholas”³⁷ the theo­logian Theofan Popa discovered an inscription in which Onufri’s son Nikola, in 1561, painted the church with the help of another iconographer, Joan. +Οταν είς Θεών έκπετά / σης τάς χείρας ώ Θ(εο)ύ θήτα μνή / σθιτη κάμού άμαρτολού κ(αί) αμά / θούς Ιωάν(ω)ου κ(αί) Νικολά / ου. Εύχεσθε (δ)ιά τών Κ(ύριο)ν άμίν. “When you raise your hands before God, O priest of God, remember also me, the sinner and ignorant Joani and Nikola. Pray for the Lord. Amen”³⁸.

Nikola is the second most promi­nent iconographer of the Iconographic School of Berat, who painted the fol­lowing churches: the Church of “Saint Nicholas” in Kurjan, Fier; the Church of “Saint Mary of Vllaherna”³⁹ in Berat, the Churches of “Saint Stephen” and “The Presentation of the Virgin” in Dhërmi, and the frescoes of the Church of “Saint George” in Arbanas, Bulgaria⁴⁰.

In his iconographic work, Nikola tends to imitate the compositional scheme of the iconographic art of Onufri, his father, even in the way he composes the icons. However, Nikola never achieved the artistic values, the dramatic intensity, and the magical colouring power of his father’s work. Painter Nikola created the frescoes and icons of the Church of “Saint Mary of Vllaherna” (1597) as well as several icons for the churches of the Berat Fortress.

The icons of Nikola, such as “The Nativity of Christ”, “Saint Mary with Christ”, and “Saint Michael” are dis­tinguished by a warm colour palette with contrasts. In the icon “The Nativ­ity of Christ” although painter Nikola follows the same compositional scheme as his father Onufri, he was unable to achieve the monumentality, elegance, the plasticity of the figures, and the beauty of the colour contrasts.

In Nikolla’s icon “The Nativity of Christ” (National Museum “Onufri”, Berat), compared to the analogous one by Onufri, we clearly observe the imi­tation of the scene but also some dif­ferences, such as a) the massive inclu­sion of elements from the real land­scape, such as trees, grasses, and ani­mals, and b) the enlargement of the dimensions and the increase in the number of figures. These changes made by the painter Nikolla have led to the loss of the grandeur of the rocky landscape in the background of the icon and the fading of the graphic con­trast that is evident in the analogous icon by Onufri. Nikolla’s icon has a decorative effect and is realised within a combination of warm colours: shades of red, ochres, and greens. In the icon created by Nikolla, the centre of the icon – the figure of Mary in the reclining position – is placed on the opposite axis compared to the Virgin in Onufri’s icon and has been slightly shifted to the right. The colour red dominates in this icon, while the spe­cific scenes and characters depicted in this theme, which is one of the most important in Christian iconography, are closer to the viewer and “devoid” of the “Onufrian” mystery, as execut­ed by Onufri, who created the same iconographic theme.

The icons of Nikola are currently on display in the pavilions of the na­tional museums of Albania. In the National Museum “Onufri” in Berat, several icons by Nikola are exhibit­ed⁴¹. In the National Museum of Me­diaeval Art in Korça, several icons painted by Nikola are displayed⁴².

According to Dhorka Dhamos, a characteristic of Nikola’s painting is the internal and melancholic focus of the figures, with expressions of humil­ity and a dreamy gaze that dissolves into space. The characters he portrays are distinguished by their portraiture, positioning, and gestures: the elderly are painted as thoughtful, while the young are full of grace, with lively movements. Nikola’s artistic figures stand out due to their unique silhou­ettes. Nikola works by cherishing eve­ry mark left by his brush, revering every line that shapes the serene oval of the saints’ faces, which convey a penetrating gaze. The eyes of the saints are calm and wise, bringing an inimitable note of poetic lyricism⁴³.

The icon “Holy Mary Hodighitria” by Nikola has achieved, above all, coloristic harmony. It is created with warm colours, and the characters stand out for their spiritual human communication. The transition of col­ours from light to shadow is more graphic than in the icon from the 14th-15th century of Maliqi, Korça.

Onufri of Cyprus

Another iconographer who digni­fies the “School of Berat” is Onufri of Cyprus, who was of Greek origin but carried out his work in the churches of Berat. Onufri of Cyprus was born in Cyprus. This is confirmed by the sig­natures he left on his icons, such as Κυπραιοσ, which means “the Cypri­ot”. Onufri of Cyprus is the first ico­nographer in Albania to leave inscrip­tions on icons. Seven icons with in­scriptions by him have been pre­served, on which his name, surname, and the year of the icon’s painting are provided. He was the son of Afksenti. This fact is signed on the icon of “Holy Mary Eleusa” with inventory number 3656, which is located in the National Historical Museum: ΧΕΙΡ ΟΝΟΥΦΡΙΟΥ ΤΟΥ ΚΙΠΡΙΟΥ Αυξεντηου (“Hand of Onufri of Cyprus, son of Afksenti”). This is the only case where Onufri of Cyprus mentions his father’s name, Afksenti. There is no information about his ex­act birthdate, but the scholar Vitaliotis believes that in 1570, Onufri of Cyprus was wounded during the siege of Nicosia, where he lost one of his hands. Under these circumstances, in 1582, Onufri left his homeland and settled in Venice⁴⁴.

In 1591, it is believed that he ar­rived in Berat. This is evidenced by the signature he left on the “Beautiful Doors” of the iconostasis of the “St. Nicholas” church in the castle of Berat: ΧΕΙΡ ΟΝΟΥΦΡΙΟΥ ΚΙΠΡΕΟΥ ΕΤΟΥΣ /ΑΦΖΑ “The hand of Onufri the Cypriot, year 1591”. According to the scholar Mustafa Arapi, the “Beau­tiful Doors” of the “St. Nicholas” church were later adapted to the “St. Mary” church of Vllaherna. The “Beautiful Doors” are currently dis­played in the post-Byzantine icon pa­vilion of the National Historical Museum⁴⁵ with inventory number 3658/1/2. In 1591, the Cypriot artist also painted the frescoes of the “St. Nicholas” church in the castle of Berat. Additionally, in the “St. Nicholas” church, the Cypriot artist painted the icon of “St. Nicholas with scenes,” which is believed to have been placed on the icon screen. The artistic quality of these two works by Onufri the Cypriot attests to his skill as an iconographic painter. This fact is confirmed by the depiction of scenes from the life of St. Nicholas. On the icon of “St. Nicholas with scenes,” there is an inscription: Νικολαε πανενδοξε Χριστου θεραπων τους τερπνον…την σιν / οικονα…και…τους εν βηω τερπνην ανταμηψην / αυτης παρ(ας)χου και προστατην φανιθει εν τι μελουσι κρισι εγραπτε / επι ετους αφyδ Χ(ριστο)υ εν μην(ι) νοεμβριου… (1594) / Προσδεξε αγιε δεη(ση)ν τους δουλους του Θ(εο)υ Κουμνηνου συν το / αδελφω Ανδρεα και Νικολαου και της ληπξς σιγκενης και για να / γινοσκετε σιχορησατε αυτους. Χειρ Ονουφριου Κυπρεου. “All-glorious Nicholas, servant of Christ… those who bow before your icon with joy… grant them a pleasant reward for as long as they live, and be their protec­tor in the coming judgement. It was painted in the year 1594 of Christ, in the month of November… Accept, O saint, the prayers of God’s servants, Komninus along with his brothers Andrew and Nicholas and other rela­tives, and may they be commemorat­ed. The hand of Onufri the Cypriot” ⁴⁶.

In the collections of the National Historical Museum, we have been able to identify two icons, which are believed to have been painted by Onufri of Cyprus. The icons belong to the church of “St. Nicholas” in the castle of Berat; “The Dormition of the Theotokos” with inventory number 5655 and dimensions 43 x 35 cm; “The Resurrection of Lazarus” with inventory number 5586 and dimen­sions 65.5 x 41.5 cm.

In 1596, Onufri of Cyprus painted the icon “Deisis”⁴⁷ for the iconostasis of the church of “St. Nicholas” in the village of Paftal, Berat. The icon is currently displayed in the post-Byzantine icon pavilion of the Na­tional Historical Museum, with inven­tory number 3653. In the lower part of the icon, near the feet of St. John, it is written in Byzantine Greek: Χειρ Ονουφριου Κυ(πρεου) “The hand of Onufri of Cyprus”⁴⁸. Below the parchment held by the Virgin Mary, the year 1596 is written. In 1596, he painted the icon of “John the Theolo­gian”⁴⁹ for the iconostasis of the church of “St. George” in Berat.

In 1599, Onufri of Cyprus painted the icon of “John the Baptist” for the iconostasis of the church of “St. Constantine and Helena” in Berat⁵⁰. In 1604, Onufri of Cyprus painted the icon of “Christ Pantocrator” for the iconostasis of the church of “St. Constantine and Helena” in the castle of Berat⁵¹. Also in 1604, Onufri of Cyprus painted the icon of “Deisis” and two side panels with saints for the iconostasis of the church of “St. Constantine and Helena” in the castle of Berat. In the collections of the National Historical Museum, there is also the cross that was placed above the iconostasis of the church, with inventory number 5467, as well as the icon of “Deisis” with inventory num­ber 5615 and dimensions 75 x 18 cm.

Around 1604, Onufri of Cyprus painted the icon of “Christ Panto­crator”⁵² in the church of “St. Mary of Vlacherna” in the castle of Berat. The icon is currently displayed in the Mu­seum of Mediaeval Art in Korça with inventory number 3626. Onufri of Cyprus also painted the icon of St. Demetrius in the church of the Holy Trinity in Berat. The icon measures 49 x 36 cm and dates to the 16th century. In the lower part of the icon, beneath the feet of the horse, it is written in Byzantine Greek: Χειρ Ονουφριου Κυ(πρεου) “The hand of Onufri of Cyprus”. The icon is currently dis­played in the Gjergj Kastrioti Skanderbeg Museum in Kruja⁵³.

Around 1605, Onufri of Cyprus left Berat and settled in the villages of Gjirokastër, in Pogon, Lunxhëri, and Dropull. In 1614-1615, Onufri of Cy­prus painted the icons for the church of the Monastery of the “Transfigura­tion” in Catistë, Pogon, Gjirokastër. The iconostasis of the church of the “Transfiguration” has five large icons and nine small ones depicting the feasts of the Lord, all of which were painted by Onufri of Cyprus.

On the icon of “St. Mary with Christ,” there is the inscription: +Αλλον ουρανον ορω και κοσμιμενον την σεπτην οικονα σου Θεοκηγητορ ηπερ καθη / στορισεν απλετο ποθω Γαβριηλ ιερομοναχος και θειτης. Χειρ δε ηπαρχει Ονουφριου Κυπριου…… “I see another heaven adorning your honoured icon, O Theotokos, which was painted with great desire by the priest-monk Gabriel. The hand is that of Onufri of Cyprus….”⁵⁴. Above the icon of Christ, it is written: Ο βασιλευς των βασιλευόντων και κύριος των κυριευόντων και μέγας / αρχιερεύς κριτής. Δεησις Ιακώβου Μητροπολίτου του Ζυχνών. / Χειρ Ονουφρίου Κυπρίου Α Χ Ι Ε (=1615) χ υ. “King of those who reign and Lord of those who dominate and great high priest, righteous judge. Prayer of Jacob, Metropolitan of Zihna. The hand of Onufri of Cyprus 1615”. This inscription refers to Christ as the King and Judge, while also acknowledging the prayer of Metropolitan Jacob of Zihna and the signature of Onufri of Cyprus with the date 1615”⁵⁵.

Also in 1615, Onufri of Cyprus painted the icon of the “Transfigura­tion.” Above the icon, it is written: Δεησις Δανιηλ Μητροπολίτου Νεβροκώπου – ετους Α Χ Ι Ε (=1615). Χ(ριστο)υ. Χει(ρ) Ονουφρίου Κυπρίου “Prayer of Daniel, Metropolitan of Nevrokop, year 1615 (from) Christ. The hand of Onufri of Cyprus”⁵⁶. This inscription refers to the prayer of Metropolitan Daniel of Nevrokop, with the date 1615, and acknowledges the artist’s signature, Onufri of Cyprus”.

In 1622, Onufri of Cyprus painted the frescoes of the church of “St. Mary” in Vrahogoranxi, Gjirokastër. This fact is confirmed by an inscrip­tion found on the southern wall of the church. The inscription is damaged due to the plaster falling off. Ανακενησθη…? ημον Θεοτοκου κε αυπ (αρθενου Μαριας) /…τατου ημον κιρου…/ οστης αυτης μονης…/μοχθου και εξοδου τον…. /(Ο)νουφριου Κηπρεου κε Αληβιζηου…/αχκβ (=1622). “It was painted… of the The­otokos and ever-virgin Mary… of the Lord… of this monastery… with the labour and expenses of… Onufri of Cyprus and Aliviziou… 1622.”

Alivizius Fokas was born in Cephalonia⁵⁷.

In 1623, Onufri of Cyprus painted the icons for the church of “St. Mary” in Vrahogoranxi, Gjirokastër: “Christ Pantocrator,” “St. Mary with Christ,” “John the Baptist,” “The Gathering of the Archangels”, “The Transfigura­tion,” and the “Beautiful Gates” of the iconostasis. In 1625, Onufri of Cyprus painted two icons for the iconostasis of the church of “Prophet Elijah” in Stegopul, Gjirokastër: the icon of “Christ Pantocrator” and the icon of the “Baptism.”

In 1630, Onufri of Cyprus painted the icons for the iconostasis of the church of “St. Nicholas” in Saraqin­isht, Lunxhëri. Some icons from this church are displayed in the post-Byzantine Icon Pavilion of the National Historical Museum: “St. Mary with Christ”⁵⁸, with inventory number 3656, “Christ Pantocrator⁵⁹, with inventory number 3657, “The Dormition of St. Mary”⁶⁰, with inven­tory number 3660, and “The Baptism of Christ”⁶¹, with inventory number 3661. The icon of John the Baptist⁶² is part of the collection of the National Gallery of Arts in Tirana.

Onufri of Cyprus is the first icono­grapher in Albania to apply the tech­nique of stucco-relief. The figures he created are imposing. They are ren­dered with warm colouring and with­out strong graphic contrasts. Onufri is praised for his fresh and luminous colours. He paints the figures on the ground, skilfully using floral orna­mentation on golden backgrounds with stucco-relief.

In 1634, Onufri of Cyprus painted the icons of “Christ Pantocrator” and “St. Mary with Christ” for the iconos­tasis of the church of “St. Mary” in Upper Peshkëpinë, Gjirokastër. In 1635, he painted the icons of “Christ Pantocrator”⁶³ and “St. Mary with Christ” for the iconostasis of the church of “St. Mary” in Spile, Tranoshisht, Lunxhëri. The traces of Onufri of Cyprus are lost after 1635, following around 40 years of presence in the Albanian regions. Onufri of Cyprus painted about 30 movable icons.

According to Dhorka Dhamos, the painting of Onufri of Cyprus appears calm. It has a lot of balance. There is a silent agreement between the painted surface with red, yellow, green, ochre, and blue spots. The colour and draw­ing are used in equal measure as har­monious components⁶⁴.

Conclusions

The influence of the Iconographic School of Berat, represented with dig­nity by Onufri and his followers, ex­tended into the 18th century. The churches of the Berat castle became ateliers where the great masters of Albanian iconography practised medi­aeval Byzantine art. Alongside the features that enriched the ornamenta­tion, Onufri and his followers created new variants and subjects, making compositional choices within the Byzantine tradition, thus giving local iconography a new characteristic. They founded the Iconographic School of Berat⁶⁵. Another phenome­non is also observed in their work: their skill and talent were not devoted to painting grand cathedrals, but they preferred the small churches of the villages of Shpati. In the following years, iconography experienced a no­ticeable decline because there was a lack of true masters who would con­tinue the tradition left by Onufri, his son Nikola, Onufri of Cyprus, and many other anonymous monk icono­graphers.

Notes

• Qafa, A. Llukani, Mitropolia e Beratit qendër besimi dhe edukimi, Shtëpia botuese Print AL, Tiranë, 2022, pp. 154-174; A. Llukani, Y. Drishti, Arti i ikonografisë në Shqipëri, Akademia e Shkencave e Shqipërisë, Tiranë, 2021, pp. 36-58.
• Uzanova, „Piktori shqiptar i shekul­lit të XVI: Onufri nga Neokastra (Elbasan)”, Buletin për shkencat shoqërore, Tiranë, nr. 3, 1953, pp. 2-22.
• Popa, „Onufri, piktor i madh shqiptar i shek. XVI”, Buletin i Universitetit Shtetëror të Tiranës, seria shkencat shoqërore, nr. 1, pp. 208-219; Idem, „Onufri, piktori më i madh shqiptar i shek. XVI”, Puna, 18 tetor 1960; Idem, „Onufri, piktori më i madh mesjetar në Shqipëri”, Zëri i Rinisë, 28 tetor 1961; Idem, „Piktor Onufri dhe gjendja e artit të pikturës gjatë mesjetës”, Nëntori, nr. 4, 1962; Idem, „Onufri, ikonograf i shquar shqiptar”, Buletin i Universitetit Shtetëror të Tiranës, seria shkencat shoqërore, nr. 1, 1962, pp. 54-75; Idem, „Të dhëna të reja rreth piktor Onufrit”, Studime historike, nr.1, pp. 141-145; Idem, „Piktor Onufri, personalitet i rëndësi-shëm i pikturës mesjetare shqiptare”, Studime shqiptare, nr. 1, 1996; Idem, „Rreth veprës së Onufrit”, Monumente të kulturës në Shqipëri, nr. 2, 1975, pp. 72-74; Idem, Onufri dhe biri i tij Nikolla, Ngjallja, shtator 1995, p. 9.
• Zeqo, „Meditime Onufriane”, Drita, 27 dhjetor 1998, pp. 14-15; Idem, „Meditime Onufriane”, Drita, 10 janar 1999, pp. 14-16; Idem, „Onufri, bashkë­ko­hësi ynë i përjetshëm”, Shekulli, 27 janar 1999, p. 16; Idem, „Onufri-kryemjeshtri i artit dhe kombit”, Albania, 13 shkurt 1999, p. 10; Idem, „Onufri-artist gjenial i penelit edhe vjershëtor”, 55, 16 shkurt 1999, p. 7; Idem, „Onufri dhe arti i kombit”, Republika, 21 shkurt 1999, pp. 8-9; Idem, „Ikonografia shqiptare dhe Onufri i madh”, 55, 8 shtator 1999, p. 13; Idem, Onufri, Tiranë 1998; Idem, Mes laokontit dhe Krishtit, Medaur, Tiranë, 2000; Idem, „Të dhëna të reja për piktorin Onufri (Shek. XVI)”, 2000 vjet art dhe kulturë kishtare në Shqipëri, Tiranë, 2003, pp. 203-207.
• Dhamo, „Onufri figurë e shquar e artit mesjetar shqiptar”, Studime Historike, nr. 1, 1980; Idem, „Piktorët shqiptarë të shek. XVI-XVIII dhe vepra e tyre në Shqipëri dhe vise të tjera të Ballkanit”, Studime Historike, nr. 3, 1985, pp. 166-173; Idem, „Pasuesit e Onufrit në Berat”, Studime Historike, nr. 1, 1987, pp. 169-184; Idem, „La peinture murale du moyen age en Albanie, Piktura murale e mesjetës në Shqipëri, Shtëpia botuese 8 nëntori, Tiranë, 1974, pp. 14-15.
• Sadikaj, „Onufri dhe shtegëtimi i shpirtit bizantin në Europë”, Gazeta Shqiptare, 25 gusht 2001, pp. 12-13.
• Popa, „Rreth veprës së Onufrit”, Monumente të kulturës në Shqipëri, nr. 2, 1975, pp. 72-74.
• Puzanova, „Mbi artin bizantin dhe post-bizantin shqiptar”, 55, Tiranë, 2005, p. 33; Idem, „Piktori shqiptar i shekullit të XVI: Onufri nga Neokastra (Elbasan)”, Buletin për shkencat sho­qërore, Tiranë, nr. 3, 1953, pp. 2-22.
• Zerza is a village about 45 km away from Prilep. The monastery of the “Transfiguration of the Saviour” was built in the year 1400. The founder of the monastery was the abbot Germanos. The church of the “Transfiguration of the Savior” is of the basilica type. Its front part, the apse, and the northern and southern walls were painted by Onufri in 1535. Some of the scenes include: the scene of the three strategists “Saint Mercury”, “Saint Demetrius”, “Saint George”; the scene “Deesis”, etc. Onufri decorated the church with three bands of frescoes. The upper band has square-shaped scenes such as: “The Descent from the Cross”, “The Descent of Christ into Hell”, “The Vision of Peter of Alexandria”, “Saint Theodore Tyron and Theodore Stratelates”, “The Resurrection”, etc. The middle band consists of medallions depicting saints in bust. In the apse are the scenes of the four evangelists. Onufri painted the church frescoes from 1535 to 1540.

205. Zeqo, Të dhëna të reja për piktorin Onufri (Shek. XVI), 2000 vjet art dhe kulturë kishtare në Shqipëri, Tiranë, 2003, pp. 204-205.

• Ibidem, pp. 203-207.
• According to the researcher Mustafa Arapi, the inscription is written on the northern wall of the church, beneath the scene “The Crucifixion of Christ”, in the row of medallions. The inscription is written in seven lines. It is surrounded by an octagonal border. The inscription measures 48.5 x 168 cm. In the first six lines, prayers and dedications are written, while in the seventh line it is written: “on July 23 under the rule of the first throne of Kostur, Lord Methodhios, the painter Onufri…, from the glorious city of BE…TION, pray and do not curse in the name of the Lord.” This is where the issue lies. The researchers Theofan Popa and Dhorka Dhamo read it as VERATION, thus BERATION, while Orlando and Mustafa Arapi decipher it as VENETION. The frescoes of the Church of the Forty Saints are preserved in good condition. There are about 54 scenes painted by Onufri. M. Arapi, „Onufri dhe misteret e tij”, Art & trashëgimi, nr. 1, 2011, pp. 61-64.
• In the Church of the “Forty Saints” in Kostur, he uses the same inscription that he used in the Church of Valsh: + Οταν εισ Θ(εο)ν εκπετασισ / τασ χειρασ σου ω Θ(εο)υ θυτα, / μνησθητι κ(αι) εμου του αμαρτωλου / και αμαθουσ Ονουγριου ζωγραφου κ(αι) πρωτοπαπα Νεοκαστρου. “When you raise your hands to God, O priest of God, remember also me, the sinner and the ignorant Onufri, the painter and Protopope of Neokastra.”
• Dhamo, „Piktorët shqiptarë të shek. XVI-XVIII dhe vepra e tyre në Shqipëri dhe vise të tjera të Ballkanit”, Studime Historike, nr. 3, 1985, p. 168.
• The frescoes were discovered in October 1951 and were studied in detail in July 1952. V. Puzanova, „Piktori shqiptar i shekullit të XVI: Onufri nga Neokastra (Elbasan)”, Buletin për shkencat shoqërore, Tiranë, nr. 3, 1953, pp. 2-22; Idem, Mbi artin bizantin dhe post-bizantin shqiptar, 55, Tiranë, 2005, p. 11.
• In the spring of the year 2000, I was privileged to visit the churches of the Shpati region, in the district of Elbasan. I was particularly impressed by the frescoes painted by Onufri in the Church of Saint Nicholas in Shelcan. A. Llukani, Ikonografia, Trifon Xhagjika, Tiranë, 2018, pp. 70-78.
• Popa, „Mbishkrime të kishave në Shqipëri”, Akademia e Shkencave e Shqipërisë, Tiranë, nr. 7, 1988, p. 52; A. Llukani, Y. Drishti, Ikonostaset e Shqipërisë, Kristalina-KH, Tiranë, 2024, pp. 28-29.
• Popa, Mbishkrime të kishave në Shqipëri, op.cit., nr. 14, p. 55; A. Llukani, Y. Drishti, Ikonostaset e Shqipërisë, op.cit., pp. 30-31.
• Popa, Mbishkrime të kishave në Shqipëri, op.cit., nr. 15, p. 56.
• In the year 1554, “obllat” were no longer in circulation, and the coins in use were akçes, aspers, or Venetian ducats. In this case, “obllat” referred to commemorative coins, that is, gold coins inherited from a treasure taken from Constantinople after the departure of the Logothetis family. According to the researcher Moikom Zeqo, Onufri’s work was paid for with this quantity of “obllat.”. M. Zeqo, Onufri, Medaur, Tiranë, 1998, p. 40.
• Dhamo, La peinture murale du moyen age en Albanie, Piktura murale e mesjetës në Shqipëri, op.cit., p. 15.
• The icon of “Saint Constantine and Helen” comes from the Church of “Saint Constantine and Helen” in Berat. It measures 87.5 x 58 x 3.2 cm. The icon is exhibited at the Museum of Medieval Art in Korçë with inventory number 69. Ε. Δρακοπουλου, cit., pp.74-77; Y. Drishti, The Byzantine and Post-Byzantine Icons in Albania, Davinci, Tirana, 2003, pp. 19-20.
• The icon of “Saint Demetrius the Myrrh-Gusher” comes from the Church of “Saint Constantine and Helen” in Berat. It measures 96 x 55 x 3.7 cm. The icon is exhibited at the Museum of Medieval Art in Korçë with inventory number 61. The icon was painted by Onufri in the 16th century. Ε. Δρακοπουλου, cit., pp. 78-79.
• The icon of the “Presentation of the Lord” comes from the churches of Berat. It measures 57 x 36.5 x 4.5 cm. The icon is exhibited at the Museum of Medieval Art in Korçë with inventory number 3637. The icon was painted by Onufri in the 16th century. Ε. Δρακοπουλου, cit., pp. 68-69.
• In the icon “The Transfiguration,” Onufri’s mastery in creating the light-shadow contrast stands out. This is clearly seen on the jagged rocks and on the figures depicted in the icon. Th. Popa, Icones et miniatures du Moyen age en Albanie, Ikona dhe miniatura mesjetare në Shqipëri, Shtëpia botuese “8 Nëntori”, Tiranë, 1974, pp. 12,13, 62, 63.
• The icon “The Entry of the Virgin Mary into the Temple” was painted by Onufri in the 16th century. Th. Popa, (1974), Icones et miniatures du Moyen age en Albanie, Ikona dhe miniatura mesjetare në Shqipëri, cit.,pp. 68-69; Y. Drishti, Icons, Colection of the National History Museum (14th-19th centuries), Mali Pleshti, Tirana, 2017, p. 24; M. Labi, Guidebook of National Historical Museum of Albania, National Historical Museum, Tirana, 2016, pp. 128-129; D. Koçi, S. Bushi, A. Llukani, Treasuries of National Historical Museum, Tirana, 2018, pp. 84-85; D. Koçi, S.A. Llukani, Post-Byzantine Icons in the National Historical Museum, Tirana, 2023, pp. 16-17.
• “Lazarus’ Resurrection,” from the Church of the “Annunciation” in Berat, measuring 54 x 34.5 cm, inven­tory number 3676; “The Nativity of Christ,” from the Church of the “An­nunciation” in Berat, measuring 53.5 x 34.5 cm, inventory number 3673; “The Transfiguration,” from the Church of the “Annunciation” in Berat, measuring 54 x 34 cm, invento­ry number 3678; “The Resurrection,” from the Church of the “Annuncia­tion” in Berat, measuring 54.5 x 35.5 cm, inventory number 3679; “The Baptism of Christ,” from the Church of the “Annunciation” in Berat, meas­uring 54.5 x 34.5 cm, inventory num­ber 3675; “The Beautiful Gates,” from the Church of the “Annunciation” in Berat, measuring 132 x 42 cm, inven­tory number 3693/94; “Christ Pantocrator,” from the Church of the “Holy Trinity” in Berat, measuring 130 x 75 cm, inventory number 3682; “Saint Demetrius,” from the Church of “Saint Demetrius” in Berat, measuring 95.5 x 54.5 cm, inventory number 3681; “Saint Constantine and Helen,” from the Church of the “Annunciation” in Berat, measuring 88 x 51 cm. Y. Drishti, The Byzantine and Post-Byzantine Icons in Albania, Davinci, Tirana, 2003, pp. 11-19; E. Drakopoulou, Icons from the Orthodox Communities of Albania, Thessaloniki, 2006, pp. 58-79; A. Llukani, Y. Drishti, Ikonostaset e Shqipërisë, Kristalina-KH, Tiranë, cit., pp. 14, 16.
• “The Beautiful Gates” come from the Church of the “Annunciation,” Berat. Their dimensions are: 132 x 43 x 5.5 cm for the left door and 132 x 41.5 x 4.5 cm for the right door. “The Beautiful Gates” are exhibited at the Museum of Medieval Art in Korçë with inventory numbers 63 and 64. They were painted by Onufri in the 16th century. Th. Popa, Icones et miniatures du Moyen age en Albanie, Ikona dhe miniatura mesjetare në Shqipëri, cit., pp. 58-59; Ε. Δρακοπουλου, op.cit., pp. 58-64.
• “Deisis” from the Church of the “Annunciation” in Berat, measuring 87 x 98 cm, inventory number 25;
  “John the Baptist” from the Church of the “Annunciation” in Berat, measuring 72.5 x 110 cm, inventory number 92; “Christ Pantocrator” from the Church of the “Annunciation” in Berat, measuring 78 x 129 cm, inventory number 12; “Saint Mary with Christ” from the cathedral “Dormition of the Virgin Mary,” measuring 75 x 129 cm, inventory number 1; “The Annunciation” from the cathedral “Dormition of the Virgin Mary,” measuring 73 x 106 cm, inventory number 22; “Theodore Tyron and Theodore Stratelates” from the Church of “Saint Theodore” in Berat, measuring 52 x 75 cm, inventory number 2; “The Entry of Christ into the Temple” from the Church of the “Holy Trinity” in Berat, measuring 43.5 x 54 cm, inventory number 9; Part of “The Beautiful Gates,” from the collection of the Institute of Cultural Monuments in Berat, measuring 50 x 54 cm, inven­tory number 9. L. Çika, Y. Drishti, The Icons of Berat, Mali Pleshti, Tirana, 2003, pp. 54-64.
• The icon “The Procession” is attributed to Onufri and dates back to the 16th century. The icon measures 51 x 34.5 cm and has inventory number 7. It originates from the Church of the “Annunciation” in Berat. Until 1966, it was part of the collection of the Museum of Medieval Art in Korçë. In 1966, the icon became part of the collection of the National Art Gallery in Tirana. Y. Drishti, Le icone albanesi XIII-XIX secolo, cit., pp. 44-45.
• Historia e popullit shqiptar, Akademia e Shkencave, Instituti i Historisë, Vol. I, 2002, Toena, Tiranë, p. 718.
• Popa, Icones et miniatures du Moyen age en Albanie, Ikona dhe miniatura mesjetare në Shqipëri, op.cit.,p. 13.
• Idem, Onufri, piktor i madh shqiptar i shek. XVI, Buletin i Universitetit Shtetëror të Tiranës, seria shkencat shoqërore, nr. 1, 1955, pp. 208-219; Idem, Onufri, piktori më i madh shqiptar i shek. XVI,cit; Idem, Onufri, piktori më i madh mesjetar në Shqipëri, Zëri i Rinisë, 28 tetor, 1961; Idem, Piktor Onufri dhe gjendja e artit të pikturës gjatë mesjetës, Nëntori, nr. 4, 1962; Idem, „Onufri, ikonograf i shquar shqiptar”, Buletin i Universitetit Shtetëror të Tiranës, seria shkencat shoqërore, nr. 1, 1962, pp. 54-75; Idem, Të dhëna të reja rreth piktor Onufrit, op.cit.,, pp. 141-145; Idem, Piktor Onufri, personalitet i rëndësishëm i pikturës mesjetare shqiptare, op.cit.; Idem, Rreth veprës së Onufrit, op.cit., pp. 72-74.
• Idem, (1995), Onufri dhe biri i tij Nikolla, Ngjallja, shtator, p. 9; M., Arapi, Nikolla, biri i Onufrit dhe jo i Onufër Qipriotit, Monumentet, Tiranë, 2005, pp. 87-96.
• In the summer of 1956, an expedition from the Institute of Sciences discovered in the Church of Saint Mary Vllaherna in Berat an inscription through which we learn that the church was painted by Nikola Onufri in the year 1578. + Ουτος ό θείος κ(αί) πάνσεπτος ναος τής Υπεραγίας Ενδόξου Δεσπ(ο)ίνης ΄ημ(ών) / Θ(εοτό)κου κ(αί) αείπαρθένου Μαρίας τής επονομαζομένης Βλαχέρνα εστήν πε / παλεωμένη κ(αί) πεφθηρμένη κ(αί) ανεκένησεν κ(αί) ανηστόρισεν μετα πόθου κ(αί) εξωδου / ο εβλαβέστατος εν ιερυση παπά Κονσταντ(ί)νος μετα τών αδελφών αυτου επονομαζ(ο)μένη Προτωσήγγελη / δειά ψιχηκήν σ(ωτη)ρ(ί)α(ν) κ(αί) τών κτητόρων αυτής καί οί θεωρούνταις ευχεστε διά τών Κ(ύ)ρ(ιο)ν κ(αί) τών κτητόρων αυτης καί οί θεωρουνταις ευχεστε διά τών Κ(υ)ρ(ιο)ν κ(αί) ο ηστωρι(ο)γράφος Νικολα(ος) υος Ονουφρίου ετους Ζ Π ΣΤ (7086 = 1578). “This divine and most holy temple of our most holy and glorified Lady, the Birthgiver of God and Ever-Virgin Mary, called Vllaherna, had aged and deteriorated, and it was renewed and painted willingly and at the expense of the most devout among the priests, Father Kostandin, together with his brothers; and you who behold it, pray for their souls; and the painter is Nikola, son of Onufri, year 7086 (=1578)”. Th. Popa, Mbishkrime të kishave në Shqipëri, Akademia e Shkencave e Shqipërisë, Tiranë, nr. 92, 1988, pp. 86-87; Idem, Piktorët mesjetarë shqiptarë, cit, p. 40.
• Puzanova, Mbi punimet e piktorit Nikollit në kishën Vllaherna (në kështjellën e Beratit, Buletin për shkencat shoqërore, Tiranë, nr. 1, 1957, pp. 64-72; Dh. Dhamo, Pasuesit e Onufrit në Berat, op.cit., p. 169; Th. Popa, Mbishkrime të kishave në Shqipëri, Akademia e Shkencave e Shqipërisë, Tiranë, nr. 93, 1988, pp. 86-87.
• Ibidem, pp. 87-88.
• Idem, „Piktura të tjera të piktor Nikollës, zbuluar në Kurjan të Fierit”, Buletin i Universitetit Shtetëror të Tiranës, seria shkencat shoqërore, nr. 4, 1960, pp. 223-229.
• Idem, (1988), Mbishkrime të kishave në Shqipëri, Akademia e Shkencave e Shqipërisë, Tiranë, nr. 94, p. 88; POPA, Th., cit., p. 43.
• In the Church of “Saint Mary of Vllaherna” in Berat, Nikola painted the icon of Saint Mary Eleusa. It measures 97.6 x 67.5 x 3.8 cm. The icon is exhibited at the Museum of Medieval Art in Korçë with inventory number 3688. The icon was painted by Nikola, son of Onufri, in the 16th century. Ε. Δρακοπουλου, cit., pp. 82-83.
• Dhamo, Mbi disa vepra të panjohura të piktorit shqiptar të shek. XVI Nikollës, Monumentet, nr. 2, 1971, p. 67; Idem, „Piktorët shqiptarë të shek. XVI-XVIII dhe vepra e tyre në Shqipëri dhe vise të tjera të”, Ballkanit, Studime Historike, nr. 3, 1985, p. 169.
• “Christ Pantocrator,” from the Church of “Saint Demetrius” in Berat, measuring 54.5 x 79.5 cm, inventory number 42; “The Nativity of Christ,” from the cathedral “Dormition of the Mother of God” in Berat, measuring 47 x 70 cm, inventory number 3; etc. L. Çika, Y. Drishti, The Icons of Berat, cit., pp. 65-66.
• “Saint Demetrius,” from the State Collection in Berat, measuring 80 x 51.5 cm, inventory number 3688;
  “Saint Mary,” from the Church of “Saint Mary Vllaherna” in Berat, measuring 98 x 66.5 cm, inventory number 3688. Y. Drishti, The Byzantine and Post-Byzantine Icons in Albania, cit., pp. 19-20; E. Drakopoulou, Icons from the Orthodox Communities of Albania, op.cit., pp. 80-83.
• Dhamo, ,,La peinture murale du moyen age en Albanie, Piktura murale e mesjetës në Shqipëri, op.cit., p. 15.
• Vitaliotis, Onuphre le Chypriote, peintre post-byzantin en Albanie (vers 1591-1625), une esquisse de son activite artistique a tavers le corpus de son ceuvre, Paris, 2016, pp. 667-692.
• “The Beautiful Gates” were part of the iconostasis of the Church of “Saint Nicholas,” in the Berat castle. Years later, they were adapted for the Church of “Saint Mary” of Vllaherna in Berat. “The Beautiful Gates” date back to the year 1591. They were painted by Onufër Qiprioti. Under the feet of the Archangel Gabriel, Qiprioti inscribed his name: ΧΕΙΡ ΟΝΟΥΦΡΙΟΥ ΚΙΠΡΕΟΥ ΕΤΟΥΣ /ΑΦΖΑ “The hand of Onufër Qiprioti, year 1591”. M. Arapi, Onufër Qiprioti. Ikonograf i shekullit të XVI-XVII, cit., p 98; Y. Drishti, Icons, Colection of the National History Museum (14th-19th centuries), op.cit., p. 33; D. Koçi, S. Bushi, A. Llukani, Treasuries of National Historical Museum, op.cit., pp. 86-87; D. Koçi, S.A. Llukani, Post-Byzantine Icons in the National Historical Museum, op.cit., pp. 26-27.
• Popa, Mbishkrime të kishave në Shqipëri, op.cit., nr. 96, p. 89.
• This icon is part of the iconostasis of the Church of “Saint Nicholas” in Paftal, Berat. It depicts the scene “Deisis” or “The Prayer.” At the lower part of the icon, near the feet of Saint John, it is written in Byzantine Greek: ΧΕΙΡ ΟΝΟΥΦΡΙΟΥ ΚΙΠΡΕΟΥ “The hand of Onufër Qiprioti,” while below the scroll held by Saint Mary is the year 1596. Mostra di icone albanesi, (1998), Roma, Vicolo Valdina, 6-24 febbraio / 8 marzo; Y. Drishti, Icons, Colection of the National History Museum (14th-19th centuries), cit., p. 29; M. Arapi, Onufër Qiprioti. Ikonograf i shekullit të XVI-XVII, op.cit., pp. 98-99; D. Koçi, S. Bushi, A. Llukani, Treasuries of National Historical Museum, op.cit., pp. 88-89.
• Popa, Mbishkrime të kishave në Shqipëri, op.cit., nr. 99, pp. 90-91.
• The icon of “Saint John the Theologian” comes from the Church of “Saint George,” Berat. It measures 97.5 x 62 x 2.5 cm. The icon is exhibited at the Museum of Medieval Art in Korçë with inventory number 3634. The icon was painted by Onufër Qiprioti in the year 1596. Above the icon is the inscription: α φ y στ – απο Χριστου. Χειρ Ονουφρηου Κυπρεου “1596 “(from) Christ, the hand of Onufër Qiprioti.” Ibidem, 97, p. 89; Ε. Δρακοπουλου, op.cit., pp. 84-85.
• On the icon of “John the Baptist,” this inscription is found: Αλλον ουρανον ορω καικοσμημενον τ(ην) σεπτην οικοναν σου / Προδρομε μακαρ η νπερ καθηστορισεν απλετο ποθο Ανδρεας ταχα και / ιερε(υ)σ και κτητορ. Χειρ δε υπαρχι Ονουφρηου Κυπρεου ετι / απο του Χ(ριστο)υ αφyθ εν μηνι σεπτε(μ)βριου “I see another heaven adorned, your honored icon, blessed forerunner, which was painted with full desire by Andrea, al­so a priest and founder. The hand is that of Onufër Qiprioti, the year from Christ 1599, in the month of Septem­ber.” Th. Popa, Mbishkrime të kishave në Shqipëri, cit., nr. 98, pp. 89-90.
• Above the icon is the inscription: Δεησις του δουλου του Θ(εο)υ / Χριστου ιερεος μετα της / συ(μ)βιου κ(αι) το(ν) τεκνον αυτου. / Ετη απο του Χριστου αχδ. / Χειρ Ονουφριου Κυπρεου “Prayer of the servant of God, priest Christos, with his wife and daughters. Year from Christ 1604. The hand of Onufër Qiprioti.” Ibidem, nr. 99, pp. 90-91.
• Drishti, Icons, Colection of the National History Museum (14th-19th centuries), op.cit., p. 34.
• Idem, National Museum Gjergj Kastrioti Skanderbeg, Kruja, Publishing House Paper, Tirana, 2012, p. 62.
• Popa, Mbishkrime të kishave në Shqipëri, Akademia e Shkencave e Shqipërisë, Tiranë, op.cit., nr. 537, pp. 225-226.
• Idem, nr. 538, p. 226.
• Idem, nr. 539, p. 226.
• Idem, nr. 547, pp. 229-230.
• In the icon, there is a version of the typology of Saint Mary. Η ΕΛΕΟΥΣΑ “Eleusa” (The Merciful). An important feature of Qiprioti’s artistic style is the technique of stucco relief, with a golden background and decorative elements. At the lower part of the icon is the inscription: ΧΕΙΡ ΟΝΟΥΦΡΙΟΥ ΤΟΥ ΚΙΠΡΙΟΥ Αυξεντηου “The hand of Onufër Qiprioti, son of Afksenti.” In this case, the iconographer Onufër Qiprioti mentions his father’s name, Afksenti. This is the only instance where Onufër Qiprioti mentions his father’s name. Mostra di icone albanesi, (1998), Roma, Vicolo Valdina, 6-24 febbraio / 8 marzo; Tresors dart albabais. Icones byzantines et post-byzantines du XII au XIX siecle, (1993), Musee National Message Biblique Marc Chagall, Paris, pagina 78; DRISHTI, Y., (2017), Icons, Colection of the National History Museum (14th-19th centuries), Mali Pleshti, Tirana, p. 31.
• Tresors dart albabais. Icones byzantines et post-byzantines du XII au XIX siecle, (1993), Musee National Message Biblique Marc Chagall, Paris, p. 76; Mostra di icone albanesi, Roma, (1998), Vicolo Valdina, 6-24 febbraio / 8 marzo; Y. Drishti, Icons, Colection of the National History Museum (14th-19th centuries), cit., p. 32.
• Mostra di icone albanesi, cit.; Y. Drishti, Icons, Colection of the National History Museum (14th-19th centuries), op.cit., p. 35.
• The icon “The Baptism of Christ” was created by the iconographer Onufër Qiprioti in the 17th century. It belongs to the iconostasis of the Church of Saint Nicholas in Saraqinisht, Lunxhëri, in the district of Gjirokastër. The icon depicts the scene of Christ’s baptism in the Jordan River, Mostra di icone albanesi, cit.; Tresors dart albabais. Icones byzantines et post-byzantines du XII au XIX siecle, Musee National Message Biblique Marc Chagall, Paris, 1993, p. 77; M. Arapi, op.cit., p. 118; M. Labi, Guidebook of National Historical Museum of Albania, National Historical Museum, Tirana, 2016, pp. 130-131; Y. Drishti, Icons, Colection of the National History Museum (14th-19th centuries), op.cit., p. 30.
• The icon of “John the Baptist” measures 86.5 x 61.5 cm and has inventory number 36. Y. Drishti, Le icone albanesi XIII-XIX secolo, Collezione della Galleria Nazionale d’Arte Tirana, Tirana, 2000, pp. 36-37.
• The icon of “Christ Pantocrator” measures 124 x 72 cm and has inventory number 31. The icon is part of the collection of the National Art Gallery in Tirana. Ibidem, pp. 32-33.
• Dhamo, La peinture murale du moyen age en Albanie, Piktura murale e mesjetës në Shqipëri, “Shtëpia botuese 8 nëntori”, Tiranë, 1974, p. 16.
• ***, Historia e popullit shqiptar, Akademia e Shkencave, Instituti i Historisë, Vol. I, 2022, Toena, Tiranë, p. 719.

Bibliography

Books

***, Historia e popullit shqiptar, Akademia e Shkencave, Instituti i Historisë, vol. I, Toena, Tiranë, 2002.

***, Percorsi del Sacro. Icone dai musei albanesi, Electa, Milano, 2002.

ARAPI, M., Onufër Qiprioti. Ikonograf i shekullit të XVI-XVII, “Monumentet”, Tiranë, 2004.

***, Tresors dart albabais. Icones byzantines et post-byzantines du XII au XIX siecle, Musee National Message Biblique Marc Chagall, Paris, 1993.

DHAMO, Dh., (1874), La peinture murale du moyen age en Albanie, Piktura murale e mesjetës në Shqipëri, “Shtëpia botuese 8 nëntori”, Tiranë, 1874.

DRISHTI, Y., The Byzantine and Post-Byzantine Icons in Albania, Davinci, Tirana, 2003.

IDEM, Icons, Colection of the National History Museum (14th-19th centuries), Mali Pleshti, Tiranë.

IDEM, Le icone albanesi XIII-XIX secolo, Collezione della Galleria Nazionale d’Arte Tirana, Tiranë, 2000.

IDEM, National Museum Gjergj Kastrioti Skanderbeg, Kruja, Publishing House albPaper, Tiranë, 2012.

ΔΡΑΚΟΠΟΥΛΟΥ, Ε., Εικονες απο τις ορθοδοξες κοινοτητες της Αλβανιας, Θεσσαλονίκη, 2006.

DRAKOPOULOU, E., (Icons from the Orthodox Communities of Albania, Thessaloniki, 2006.

ÇIKA, L., DRISHTI, Y., The Icons of Berat, Mali Pleshti, Tiranë, 2003.

KOÇI, D., BUSHI, S., LLUKANI, A., Treasuries of National Historical Museum, Tiranë, 2018.

KOÇI, D., LLUKANI, A., Post-Byzantine Icons in the National Historical Museum, Tiranë, 2023.

LABI, M., Guidebook of National Historical Museum of Albania, National Historical Museum, Tiranë, 2016.

LLUKANI, A., DRISHTI, Y., Arti i ikonografisë në Shqipëri, Akademia e Shkencave e Shqipërisë, Tiranë, 2021.

LLUKANI, A., DRISHTI, Y., Ikonostaset e Shqipërisë, Kristalina-KH, Tiranë, 2024.

LLUKANI, A., Ikonografia, Trifon Xhagjika, Tiranë, 2018.

POPA, Th., Onufri dhe biri i tij Nikolla, Ngjallja, shtator 1995.

IDEM, Mbishkrime të kishave në Shqipëri, Akademia e Shkencave e Shqipërisë, Tiranë, 1998.

PUZANOVA, V., Mbi artin bizantin dhe post-bizantin shqiptar, 55, Tiranë, 2005.

ZEQO, M., Të dhëna të reja për piktorin Onufri (Shek. XVI), 2000 vjet art dhe kulturë kishtare në Shqipëri, Tiranë, 2003.

VITALIOTIS, I., Onuphre le Chypriote, peintre post-byzantin en Albanie (vers 1591-1625), une esquisse de son activite artistique a tavers le corpus de son ceuvre, Paris, 2016.

ZEQO, M., Onufri, Medaur, Tiranë, 1988.

IDEM, Mes laokontit dhe Krishtit, Medaur, Tiranë, 2000.

Studies and articles

***, Mostra di icone albanesi, Roma, Vicolo Valdina, 6-24 febbraio / 8 marzo 1998.

DHAMO, Dh., „Onufri figurë e shquar e artit mesjetar shqiptar”, Studime Historike, nr. 1, 1980.

IDEM, Piktorët shqiptarë të shek. XVI-XVIII dhe vepra e tyre në Shqipëri dhe vise të tjera të Ballkanit, Studime Historike, nr. 3, 1985, pp. 166-173.

IDEM, „Pasuesit e Onufrit në Berat”, Studime Historike, nr. 1, 1987, pp. 169-184.

NIMANI, Sh., Onufri dhe piktorë të tjerë mesjetarë shqiptarë, ARS ALBANICA, Prishtinë, 2022.

POPA,Th., „Onufri, piktor i madh shqiptar i shek. XVI”, Buletin i Universitetit Shtetëror të Tiranës, seria shkencat shoqërore, nr. 1, 1955, pp. 208-219.

IDEM, „Onufri, piktori më i madh shqiptar i shek. XVI”, Puna, 18 tetor 1960.

IDEM, „Onufri, piktori më i madh mesjetar në Shqipëri”, Zëri i Rinisë, 28 tetor 1962.

IDEM, „Piktor Onufri dhe gjendja e artit të pikturës gjatë mesjetës”, Nëntori, nr. 4, 1962.

IDEM, „Onufri, ikonograf i shquar shqiptar”, Buletin i Universitetit Shtetëror të Tiranës, seria shkencat shoqërore, nr. 1, 1962, pp. 54-75.

IDEM, „Të dhëna të reja rreth piktor Onufrit”, Studime historike, nr.1, 1966, pp. 141-145.

IDEM, „Piktor Onufri, personalitet i rëndësishëm i pikturës mesjetare shqiptare”, Studime shqiptare, nr. 1, 1966.

IDEM, „Rreth veprës së Onufrit”, Monumente të kulturës në Shqipëri, nr. 2, 1975, pp. 72-74.

PUZANOVA, V., „Piktori shqiptar i shekullit të XVI: Onufri nga Neokastra (Elbasan)”, Buletin për shkencat shoqërore, Tiranë, nr. 3, 1953, pp. 2-22.

QAFA, A., LLUKANI, A., Mitropolia e Beratit qendër besimi dhe edukimi, Shtëpia botuese Print AL, Tiranë, 2002.

SADIKAJ, A., „Onufri dhe shtegëtimi i shpirtit bizantin në Europë”, Gazeta Shqiptare, 25 gusht 2001, pp. 12-13.

ZEQO, M., „Meditime Onufriane”, Drita, 27 dhjetor 1998, pp. 14-15.

IDEM, 10 janar 1999, pp. 14-16.

IDEM, „Onufri, bashkëkohësi ynë i përjetshëm”, Shekulli, 27 janar 1999, p. 16.

IDEM, „Onufri-kryemjeshtri i artit dhe kombit”, Albania, 13 shkurt 1999, p. 10.

IDEM, „Onufri-artist gjenial i penelit edhe vjershëtor”, 55, 16 shkurt 1999, p. 7.

IDEM, Onufri dhe arti i kombit, Republika, 21 shkurt 1999, pp. 8-9.

IDEM, „Ikonografia shqiptare dhe Onufri i madh”, 55, 8 shtator 1999, p. 13.