The Creation of Neo-Byzantine architecture in Modern Greece

在第一章中，它的目的是，如何使Chr。汉森于19世纪30年代在新建立的希腊首都雅典创造了新拜占庭风格。结论如下：如Rundbogen窗（顶部有红色砖拱的窗户），Chr。Hansen认为拜占庭建筑的语言，建筑师可能受到Metamorphosis教堂（1-1）和Dafni修道院的kathorikon教堂（1-4）的窗户的影响；至于窗内红砖拱与黄墙面的颜色对比效果，这两个教堂都可以寻求其模式1-2),-4),-6)。第二章的目的是明确建筑设计是什么。汉森教堂被改造成了眼科医院和军队药房，哪个教堂本可以成为他们的典范。汉森本可以从上面引入三种新的建筑设计，如1)、2)、3)。在对眼科医院的改造中，L. Kaftanzoglou采用了另一种设计，入口采用了三层窗玻璃，这是由同一座kathorikon改编而来的。另一方面，Th。汉森可能自己设计了一个像走廊一样的入口，而不是寻求某种模式，也可能从不明教堂引入了圆形窗户。在第三章中，我想通过Chr和Th的活动来说明。汉森向希腊以外的人介绍了新创建的新拜占庭风格的建筑是如何在欧洲传播并被修改的。首先，在浪漫历史主义的传播中，两位丹麦建筑师不仅以新拜占庭风格建造整个建筑，而且还采用了从过去风格改编的其他风格。其次，他们将Rundbogen窗、带有小三角形投影的装饰带、窗户中红色砖拱与黄色墙面的色彩对比效果、墙壁和钟楼类型的纹理和多色效果等五种基本设计运用到建筑中。少

It is aimed, in the 1st chapter, how Chr. Hansen created the Neo-Byzantine style in the newly-established greek capital Athens in 1830s. The conclusion is as follows ; as for Rundbogen window (window topped by arch of red-colored bricks), which Chr. Hansen recognized as the language of architecture in Byzatine architecture, the architect could have been influenced by the windows of the Metamorphosis church(1-1)) and the kathorikon church of the Dafni monastery (1-4)) ; as for the effect of contrast in color of arch of red-colored bricks in window with yellow-colored wall surface, its model could have been seeked for the both churches 1-2), -4), -6).The aim of the 2nd chapter is to make clear what architectural design Chr. and The Hansen had adapted for the Ophthalmologic Hospital and the Military Pharmacy, and what church could have been the model for them, It is concluded that Chr. Hansen could have introduced three new architectural designs such as 1), 2), 3) from the above both chur … More ches. In the modification of the Ophthalmologic Hospital, L. Kaftanzoglou used the other design with the three-foil windows for the entrance, which had been adapted from the same kathorikon. On the other hand, Th. Hansen could have created narthex-like entrance by himself, not seeking for some mode1, and might have introduced round window from unidentified church. It is intended, in the 3rd chapter, to make clear through the activity of Chr, and Th. Hansen outside of Greece how the newly-created Neo-Byzantine style architecture had spread in Europe, and had been modified. First, in the spread of the romantic-historicism, both danish architects build whole architecture not only in the Neo-Byzantine style, but in others which were adapted from the past styles. Second, they used to their archhitecture the five basic designs such as Rundbogen window, ornament band with small triangular projections, effect of the contrast in color of arch of red-colored bricksarch in window with yellow-colored wall surface, and textural and polychromatic effect in wall and bell tower type1. Less