thumb|336x336px|A mosaic depicting the [[Triumphal entry into Jerusalem inside the monastery.]]
Daphni or Dafni (Modern Greek: Δαφνί; Katharevousa: Δαφνίον, Daphnion) is an eleventh-century Byzantine monastery northwest of central Athens in the suburb of Chaidari, south of Athinon Avenue (GR-8A). It is situated near the forest of the same name, on the Sacred Way that led to Eleusis. The forest covers about , and surrounds a laurel grove. "Daphni" is the modern Greek name that means "laurel grove", derived from Daphneion (Lauretum).
The Daphni Monastery, along with the famous monasteries of Hosios Loukas near Delphi and Nea Moni on the island of Chios, are designated UNESCO World Heritage Sites for their significant historical and architectural value. These monasteries are famed as masterpieces of middle Byzantine architecture, and are especially noted for their sumptuous interior gold-ground mosaics.
History
The Daphni Monastery was founded towards the end of the sixth century A.D. on the site of the Sanctuary of Apollo which had been desecrated by the Goths in 395. The old basilica was completely demolished, except for the enclosing walls and cells from the former church which were incorporated into the new church. Traces of old frescoes found on the walls show a person with bands, perhaps Emperor Basil II, holding a scroll. The craftsmanship used in the church construction suggests Basil II brought in workers from Constantinople. who added their own cloister and twin pointed arches in the Gothic style to the façade of the church. The Daphni Monastery became a popular burial place for Knights. In 1458, immediately after the coming of the Turks and the visit of Sultan Mehmed II to Athens, the Cistercians abandoned the Daphni Monastery and the Duchy of Athens was abolished.
Architecture
The exterior of the church has a cloisonné style, which is very common for middle Byzantine churches in Greece. One of the factors that identifies mosaics from different areas is the variance in glass used. The glass can be crafted locally or imported from other areas; in the case of Daphni, it is believed the glass was created on site. This group of mosaics is considered one of the most important and best-preserved mosaic cycles from this period. They are evidence of the iconographic and stylistic conceptions formulated at the end of the iconoclastic crisis (AD 843) by the Church of Constantinople. The decoration shows a rigid consistency in the distribution of subject, characteristic of Constantinopolitan art.
thumb|Mosaic depicting the [[Holy Spirit in Christianity|Holy Spirit and the Hand of God]]
In Byzantine theology, the church building was a symbol of the Christian universe, intended to reflect the splendor of heaven. A standardized program in Byzantine churches established the order in which the representations were arranged. The most sacred characters were depicted in the dome and the apse, while below the dome scenes were arranged from higher to lower levels, relating to their level of religious importance.
Visitors to the church are immediately drawn to the most important and famous of the mosaics: Christ Pantocrator (Lord of the Universe) watching over all from the crown of the dome. He is depicted with a stern face and a threatening gaze with only his head and shoulders shown. This medallion is recognized as representing exceptional artistic quality: it has been described as “one of the greatest creations in art”
thumb|The [[Nativity of Jesus]]
Christ is wearing a purple robe and a blue mantle. He is the King of Kings and shows strength, austerity, and power. The artist created a bold and realistic drawing, executed with very simple means. The eyebrows are shown with a strong arch to accentuate the vertical lines and the long nose that intersects with the horizontal lines of the halo to create a symbolic cross. Several studies have been conducted in an attempt to determine whether significant changes have been made during restorations to the appearance of the Christ Pantocrator mosaic, but there is general agreement that changes have not been significant. Christ is surrounded by sixteen Prophets at the base of the dome, between the windows that illuminate Christ as the dominant figure in the church. The prophets are wearing ancient garments and hold a parchment containing text proclaiming the glory of Christ or the Second Coming.
thumb|Christ Pantocrator
On the pendentives, there are four scenes from the life of Christ. The Crucifixion scene depicts three figures: Christ on the cross, with Mary and St. John at the foot of the cross, one on each side. The figures are arranged in the shape of a triangle against the empty golden background. Each figure is separate and unified with the other figures. This balanced arrangement is similar to the way Greek sculptors placed their figures in the pediments of temples. The figure of St. John is depicted in a bending position, with his weight on one leg – a pose used by Greek sculptors. The body of Christ is depicted in a classic, athletic style, but unlike Greek sculpture, the anatomy is not true to life. The faces of St. John and the Madonna have the flatness and heavy lines of the Byzantine style, but they express the calm of Greek statues. The decoration of the monastery is inspired by the spirit of the times.