Elements of continuity and discontinuity in the Orthodox kivotia of Southeast Europe

The aim of this paper is to present three different kinds of containers for the Eucharist (kivotia) that are attested in the Post-Byzantine Balkans, discussing if their shape was connected to the Byzantine tradition or if, on the contrary, it represented a break with tradition. This paper also tries to highlight the reason that, in the latter case, made that change possible and acceptable in a really conservative context, as Post-Byzantine Southeast Europe was, especially in regards to themes directly or indirectly connected to the very central topic of religious identity. I strongly believe that the analysis of the elements of discontinuity in the artistic production may allow to a complementary better understanding of the key elements consolidated by tradition: for example, the importance of architectural representation in the (Post-)Byzantine culture, which, as a general concept, has already been highlighted in the bibliography. Based on the assumption that architectural objects are animated by a spiritual, philosophical, or artistic intention, the symbolic prototype which is at the base of each different kind of architectural kivotion will be investigated: it will help understand its specific additional message and will contribute to a better understanding of the cultural, religious and political context in which it finds its origin.