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Relevant bibliographies by topics / Byzantine Art

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Academic literature on the topic 'Byzantine Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Byzantine Art"

1

Lovino, Francesco. "Byzantium on display." Journal of the History of Collections 32, no. 3 (February 18, 2020): 509–21. http://dx.doi.org/10.1093/jhc/fhz044.

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Abstract In the early twentieth century, art dealers tailored their activities to the demands of a new generation of collectors who had turned to Byzantine art. The attention paid to Byzantium reached its peak with the Exposition Internationale d’Art Byzantin, at which more than 800 artefacts were displayed in the Pavillon de Marsan at the Musée du Louvre in 1931. This paper aims to investigate the role of private lenders to the exhibition, and particularly that of art dealers, who were instrumental in the founding of many collections of medieval and Byzantine pieces, selecting and importing from the Mediterranean basin fine objects for American and European collectors. The Exposition thus represented for them a prime occasion for the display of goods in a formal and officially recognized environment, and an opportunity to expand their network of clients.

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Grotowski, Piotr. "Classicisation or representation? Mimesis in Byzantine pictorial arts as a derivative of style." Zograf, no. 37 (2013): 23–36. http://dx.doi.org/10.2298/zog1337023g.

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The idea of mimesis in art theory has been neglected by Byzantine scholars. Reasons for this may lie in the fact that the understanding of the term in Byzantium was very complex and that it changed over time. In the Early Byzantine period and the so-called Macedonian Renaissance, a tendency to use tonal modelling, which was inherited from ancient Greco-Roman art, can still be observed. Starting in the late tenth century they give way to a more linear style. Simultaneously, a change in the understanding of mimesis in theological writings can also be observed. The aim of this paper is to introduce the problem of a mimetic approach in visual arts as a phenomenon in Byzantine culture.

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Negrău, Elisabeta. "“The Gates of Eternal Life”: Metamorphosis and Performativity in Middle to Late Byzantine Sculpted Church Doors (with a Case Study of a Wallachian Wooden Door)." Religions 15, no. 6 (June 15, 2024): 732. http://dx.doi.org/10.3390/rel15060732.

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In recent years, there has been a growing interest in analyzing the manufacturing techniques of Byzantine church doors in laboratory settings. However, the connection between the iconography and significance of the décor of church doors and their liturgical performativity, as well as their parallels with iconostases in Byzantium, remained a relatively underexplored area of study. This article seeks to delve deeper into these intersections. By focusing on the relationship between the iconography of church doors in Middle to Late Byzantium and their connection to the sacred space and liturgical practices, I aim to shed light on how these artworks played a crucial role in the sacred experience of the Byzantines. This exploration will not highlight only the aesthetic evolution of church door artwork but also emphasize the communal and embodied nature of the religious experience during the Byzantine era. Their intricate designs were not merely decorative elements but served as portals to the divine, enriching the salvation journey of worshippers as they crossed the threshold into the liturgical spaces. By conducting an examination of the development of door iconography and their symbolism throughout the empire’s history, the transformation of narrative depictions from the Middle Byzantine era to the Palaiologan period, culminating in a convergence of symbolic meanings within the sacred space of the church, is delineated. This transformation is further exemplified by a sculpted church door from the Principality of Wallachia. By bridging the gap between art history and religious studies, this article aims to rekindle interest in the profound symbolism and significance of Byzantine church doors and their relation to sacred liturgical space, offering a broader perspective on an important aspect of Byzantine heritage.

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Paolicchi, Anita. "Problematic Terminology in a Tentative Research Methodology for the Visual Culture of the Balkans." Studia Universitatis Babeș-Bolyai Historia 66, Special Issue (November 9, 2021): 67–78. http://dx.doi.org/10.24193/subbhist.2021.spiss.04.

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"The aim of this paper is to highlight and briefly discuss some of the most problematic terms and concepts that recur in art historiography: for example, the words Byzantine, post-Byzantine, Eastern, Western and Local. These concepts are used in a misleading way not only by American and Western European authors, but also by Eastern and South-Eastern European ones: in fact, the “Balkan” art historiography based itself on the Western-European one, adopting its periodisation, terminology and interpretative framework, which led to a number of methodological problems that researchers are now trying to identify, discuss and, if possible, solve. Keywords: art historiography, South-Eastern Europe, silverwork, Byzantium. "

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Liveri, Angeliki. "Fu-lin dances in medieval Chinese art - Byzantine or imaginary?" Zbornik radova Vizantoloskog instituta, no. 56 (2019): 69–94. http://dx.doi.org/10.2298/zrvi1956069l.

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Chinese artists, active from the Tang dynasty to Northern Song dynasty, created famous paintings including Fu-lin musical and dancing scenes; as e. g. Yan Liben, Wu Daozi and Li Gonglin. The most of these works are unfortunately lost; thus, we have information only from written descriptions to reconstruct them. Some researchers identify Fu-lin with the Byzantines; others disagree with this interpretation. Therefore, it is worthwhile to study whether the musical and dance motifs that referred to Fu-lin and were used by the above mentioned Chinese artists and literati can be identified with Byzantine elements and their performers with Byzantines ones.

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Etinhof, Olga E. "ON THE QUESTION OF CLASSICAL THEMES IN THE ART OF PRE-MONGOL RUSSIA." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2021): 152–83. http://dx.doi.org/10.28995/2686-7249-2021-1-152-183.

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A narrow range of Byzantine texts, primarily chronographic ones, containing classical themes and images, were translated in Russia starting from the 11th century.These texts became the literary basis of secular and ecclesiastic art. Several iconographic motifs from mythological stories and the “Ascension of Alexander the Great” entered the art of pre-Mongol Russian. Byzantium was the main source of the antique elements in Old Russian culture. Some motifs were also adopted in Old Russia from Romanesque art, through close contact with Western Europe. The tradition of using ancient subjects for the decoration of churches in relief, which was widespread both in Byzantine and in Romanesque art, was continued in Russian monuments. Сlassical subjects on the walls of churches served as apotropaic images, but their symbolism could also include other aspects. Antique motifs are encountered even in the frescoes of monastery churches which followed a strict, ascetic iconographic programme in spite of the general orientation of Old Russian art towards the monastic culture of Byzantium. The author deals with the problem of specific samples. It is unlikely that objects of applied art could have served as models for church sculpture.

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Brubaker, Leslie. "Parallel Universes: Byzantine art history in 1990 and 1991." Byzantine and Modern Greek Studies 16 (1992): 203–33. http://dx.doi.org/10.1017/s030701310000762x.

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Art history, like many disciplines in the so-called humanities, has engaged in a bout of re-definition over the past decade. Studies of the art of Byzantium have not been immune to this wave of revision and re-assessment. Though it must be said that Byzantine has been affected less than Roman or, especially, nineteenth-century art history, the discipline is nonetheless in a state of transition, and this fact deserves greater recognition than it has received.

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Nemykina, Elena Aleksandrovna. "Transformation of the Nemanichi’s ideology in the monuments of the Milutin era (1282–1321) in the conquered Macedonian territories." Studia Slavica et Balcanica Petropolitana, no. 2 (28) (2020): 89–106. http://dx.doi.org/10.21638/spbu19.2020.206.

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This article is devoted to the problem of the influence of ideological attitudes on the iconographic programs of the medieval Macedonian monuments at the end of the 13th – the first quarter of the 14th century. This period is associated with the reign of the Serbian king Milutin (1282–1321), who conquered a number of Macedonian territories from Byzantium and married the daughter of the Byzantine emperor Andronicus II Palaeologus (1282–1328). Close kinship with the imperial family and Milutin’s active policy towards Byzantium become the key factors for the reorientation of Serbian ideology from a national platform to an imperial one.This article is devoted to the problem of the influence of ideological attitudes on the iconographic programs of the medieval Macedonian monuments at the end of the 13th – the first quarter of the 14th century. This period is associated with the reign of the Serbian king Milutin (1282–1321), who conquered a number of Macedonian territories from Byzantium and married the daughter of the Byzantine emperor Andronicus II Palaeologus (1282–1328). Close kinship with the imperial family and Milutin’s active policy towards Byzantium become the key factors for the reorientation of Serbian ideology from a national platform to an imperial one.The process of «byzantinization» affects all the areas of the life of the Serbian kingdom, including art. Establishing his presence in Macedonia, Milutin, with the help of the Greek masters, actively builds and restores churches, rebuilds the Greek buildings and invites the Greek artists, Michael and Eutychios, belonging to the progressive artistic movement to paint churches. Thus, the architectural and pictorial ensembles of this time arise within the framework of the Byzantine artistic tradition and correspond to the main currents of the Byzantine art. Fresco paintings are created in accordance with the stylistic principles of the advanced trends of the Paleologian Renaissance and are replete with fresh iconographic solutions, new semantic accents and compositions. Good preservation of the most of Milutin’s monuments ensured close attention of the researchers. However, with a thorough study of the Byzantine traditions in the Serbian cultural paradigm, the fact of embedding national specifics into the Byzantine imperial theme remained unnoticed, as evidenced by a number of the iconographic features of the monumental paintings considered in this article.Keywords: imperial theme, iconography, medieval fresco painting, national specifics, Milutin, ideology of Nemanichi, Macedonia, Serbian Kingdom, art, cultural studies, cultura of Medieval Ages.

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AL-AKAM, RUAA SADEQ MHMOOD, and Salam Hameed Rasheed. "Aesthetics of Byzantine Christian Art." Journal of Humanities and Social Sciences Studies 4, no. 1 (February 27, 2022): 143–53. http://dx.doi.org/10.32996/jhsss.2022.4.1.14.

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The current study addressed the study of (The aesthetics of Byzantine Christian art). Its problem was identified by answering the following question: What are the aesthetics of Christian art represented by the Byzantine icon? Also, it aims to (recognize the aesthetics of Byzantine icon art). The research community was identified to achieve the goal, which consisted of icons and religious drawings that the researchers could count as a framework for the research community after collecting pictures of the subject from foreign and Arab sources and Internet sites. The sample was drawn according to the following reasons: a) It covers the temporal and spatial limits of the research and what fits with the data to achieve the goal, b) Diversity of technical methods adopted in drawing icons and c) The study sample models witnessed a diversity of contents and ideas. The research study reached the following conclusions. First, they borrow iconographic products, religious images and semantic symbols related to the Christian tradition and employ them through analytical visual inferences, in harmony with the structural and structural treatments of the elements and organizational foundations. Second, the products of icon art are associated with the nature of the transition from the tangible to the ideal and in line with the loading of the composition structure with an expressive energy, explaining the necessity of interpretation of religious discourse, and defining the operational vision with a clear dramatic sense. Third, the iconographic models depend on philosophical data supporting the religious meaning carried in them and giving endless explanations for the public discourse affecting the functionality of (idea) or (event). Fourth, the models of iconographic art are close to the nature of the functional induction of spiritual and sacred tendencies. At the level of deep interpretations accompanying visual forms with a clear aesthetic impact, we find that icon art carries with it religious reference effects related to the sacred. Lastly, Icon art invests in accumulating aesthetic knowledge to produce the artistic image and summons the largest possible amount of data affecting its formulation and output.

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KALOPISSI-VERTI, Sophia. "Painters' Portraits in Byzantine Art." Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας 35 (January 11, 1994): 129. http://dx.doi.org/10.12681/dchae.1098.

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Dissertations / Theses on the topic "Byzantine Art"

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Kavan, Katrina Jill. "Art and miracle." Thesis, Courtauld Institute of Art (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243374.

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Schilb, Henry. "Byzantine identity and its patrons embroidered aeres and epitaphioi of the Palaiologan and post-Byzantine periods /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3358943.

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Thesis (Ph.D.)--Indiana University, Dept. of History of Art, 2009.
Title from PDF t.p. (viewed on Feb. 8, 2010). Source: Dissertation Abstracts International, Volume: 70-05, Section: A, page: 1457. Adviser: W. Eugene Kleinbauer.

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Teruzzi, Marta. "Byzantium and Florentia. Byzantine art in Florence from the 13th to the 18th century." Thesis, IMT Alti Studi Lucca, 2017. http://e-theses.imtlucca.it/231/1/Teruzzi_phdthesis.pdf.

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The research is placed within the complex matter of the individuation and the comprehension of the movable Byzantine heritage in Italy, and focuses on Tuscany and specifically on Florence as a case study. The main aim of the research is to analyse the movable Byzantine heritage existing today in Florence, also in its historical aspects. Modern heritage is understood as the result of a long process of cultural choices and of dominant interpretations given throughout the centuries, and the research wants to address a double matter: on one side, the principal purpose is to define the extent of the extant heritage, to identify its main characters and to reconstruct its sequences. On the other side, the aim is to understand what kind of reflections and interpretations were proposed about these objects in the Florentine cultural context: which was the perception of Byzantine artefacts and of Byzantine art? Which objects were considered important (if any) and why? Was there a specific interest for the Byzantine culture? These two fields of analysis are evidently strongly intertwined; however, they are examined with different methodologies, different sources and basing on different requirements and definitions. The first aim of the project - defining the extent of the heritage which flow into the city from the Byzantine Empire – is based on the creation of a catalogue of the Byzantine artworks of Florence, including a list of the all extant pieces and the catalogue entries of those artworks which arrived during the periods considered by the analysis (13th-18th centuries). The second aim of the research – understanding the changing attitudes and interests in Byzantine artefacts – is faced by following a chronological order, starting from the 13th century, when we find the first traces of Byzantine objects, and ending with the presence of the French occupation: the dates of 1799-1803 mark a deep political change and a moment of crisis in the management of the artistic heritage of the city, with the Director of the Uffizi Gallery, Tommaso Puccini, sending a part of the collection to Palermo in order to preserve it. The elements used to look at the interests in Byzantium are multiple. As first, all the aspects of the artworks' life which emerged during the cataloguing: acquisition and display, eventual disposal or destruction, re-use or rearrangement. Artistic literature is also an important field of research, and all the chapters include a paragraph which analyses the art historians' opinions and the place that 'Greek art' occupied in art historical literature. Another important factor considered by the research is the lost heritage: reconstructing the real number and typology of the Byzantine artworks which were circulating in Florence is retained fundamental to have a full overview of the appreciation of Byzantine art in Florence.

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Franses, Henri. "Symbols, meaning, belief : donor portraits in Byzantine art." Thesis, Courtauld Institute of Art (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283012.

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Tsvirkun, Olga. "Les icônes mariales en Galicie et Volhynie de la fin du XIe au début du XVIe siècle." Paris, EPHE, 2013. http://www.theses.fr/2013EPHE5025.

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Le sujet de la thèse concerne les icônes de la Mère de Dieu de Galicie et de Volhynie, les mieux préservées d’Ukraine. Le but de la thèse est de présenter l’icône unique de la Mère de Dieu de Kholm, provenant de Constantinople et appartenant à l’art raffiné de l’époque des Comnènes, et également les icônes du Pokrov de la Mère de Dieu, de l’Hodigitria, de la Louange de la Mère de Dieu, et de la Mère de Dieu trônant. Ces icônes proviennent en général des villages, mais la majorité témoigne d’une grande qualité, de la diversité des styles et d’une iconographie particulière. Par cette étude, la thèse révèle l’influence byzantine sur ces oeuvres, leurs analogies avec les icônes russes d’autres régions de la Russie. La majorité des icônes étudiées date de la fin du XVe-début du XVIe siècle, de la période de floraison de l’art des icônes en Galicie et Volhynie. La nouveauté du travail est que certaines icônes ont été découvertes récemment et permettent d’avoir une nouvelle vision du développement de l’art des icônes dans ces régions. L’étude des icônes de Pokrov de la Vierge met en évidence le début de l’iconographie et l’évolution des icônes de ce type, en Galicie. Les icônes de l’Hodigitria et de la Louange à la Mère de Dieu révèlent le caractère unique et la spécificité de chaque oeuvre. Ces icônes présentent un grand intérêt et un matériel précieux pour l’art byzantin en général
Icons of the Mother of God from the regions of Galitiya and Volin from the end of the 11 century to the beginning of the 16 century. This thesis concerns the icons of the Mother of God, originated in the regions of Galitsiya and Volin, where they have been conserved the best in Ukraine. The purpose of this study is to represent the unique icon The Mother of God of Kholm from Constantinople, which has belonged to the refined art of the Komnin’s epoch and also the icons : The Protection of Mother of God, the Mother of God Hodigitria, the Praise of Mother of God Hodigitria and the Mother of God on thethrone. Basically, these icons have originated in the villages, the majority of them show the high quality, the variety of styles and the unique iconography. The thesis tries to investigate the Byzantine influence on these works and their analogies with Russian icons of different regions. The majority of icons is dated by the 15th and the beginning of the 16th century. It was the period of the flourishing of iconography in the regions of Galitsiya and Volin. The novelty of this work contains the fact that some of the icons have been discovered recently and they let us have the new vision of the development of the iconography in these regions. The study of the icons “The protection of Mother of God” shows the birth and the evolution of the iconographic type in Galitsiya. The icons of Hodigitria and the Praise of Mother of God display the uniqueness and specific character of each work. These icons are of great interest and great valuable material for the Byzantine art in the whole

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Harrison, Katherine. "Byzantine Carved Gemstones: Their Typology, Dating, Materiality, and Function." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463138.

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This dissertation examines gemstones carved in relief from the middle and late Byzantine periods. Byzantine gems share a similar aesthetic with relief carvings in ivory and steatite, but they have not been as thoroughly studied. This dissertation seeks to address the lacuna in scholarship by assembling, dating, and analyzing two hundred Byzantine gems. Carved gemstones average less than four centimeters in height. Bloodstone, a variety of jasper, was carved the most frequently. Almost all are enkolpia, or pectoral pendants. The earliest pieces can be dated to the tenth through the early eleventh centuries. They are skillfully carved, and some display imperial themes such as the standing Christ and a symbol that is reminiscent of the globus cruciger. Some display iconographic and stylistic similarities with icons in ivory, which are also associated with emperors. The greatest number of pieces date to the twelfth century, and their quality varies considerably. This seems to suggest that initially gemstone enkolpia were owned by emperors and other elites, but that by the twelfth century they had become more accessible and their use increased. This finding is consistent with our knowledge of the cultural climate and religious practices of the twelfth century, which is characterized by a taste for luxury objects and a form of piety that was focused upon attaining individual salvation. The function of gemstone enkolpia was explored through iconographic and textual analysis, as well as a through the study of their materiality. It was found that all of the gems are carved with religious subject matter and that most display portrait images of holy figures who were known as intercessors and protectors. This suggests that gemstone enkolpia were primarily used to mediate a devotional relationship with a patron saint. Textual sources indicate that wearing an enkolpion “over the heart” was an act of devotion that ensured that the saint’s presence was carried at all times. An examination of the materiality of gems revealed that their meanings and associations were brought to bear upon the devotional function of gemstone enkolpia in a variety of complex ways. It was also found that gemstone enkolpia had an amuletic nature and could be used for healing, protection, and divination.
History of Art and Architecture

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Diego, Barrado Lourdes. "La culture figurative dans la Rome byzantine." Paris 1, 2004. http://www.theses.fr/2004PA010606.

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Durant la période byzantine de Rome (553-751), Byzance voulut exercer sur elle et sur la cour pontificale une tutelle politique, morale et religieuse. Cependant, Rome s'efforça de maîtriser son avenir. La présence hellénophone (militaires, fonctionnaires et religieux) et l'arrivée d'artistes et d'intellectuels orientaux conditionnèrent les nouvelles formes artistiques; ceci se mêla à un fond latin, qui provient de la grandeur de la Rome impériale. Les monastères grecs contribuèrent à la transmission de la culture orientale. L'intronisation de papes grecs ou orientaux, la représentation des martyrs orientaux dans les églises et l'établissement d'institutions d'assistance d'origine orientale furent une réalité à Rome. L'art de la ville de Rome durant le Haut Moyen Âge constitue un témoignage de la réception de la culture et de l'art orientales en Occident. L 'histoire artistique de la Rome byzantine doit être considérée comme un chapitre à part entière dans le développement de l'art byzantin.

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Kordis, George D. "St. Nikodemos the Hagiorite on Byzantine iconography." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Peers, Glenn Alan. "The iconography of the archangel Michael on Byzantine icons /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66084.

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Koutsikou, Chryssavgi. "Les icônes hagiographiques post-byzantines (XVe-XVIIe siècles) : le cas des ateliers crétois." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H022.

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La présente thèse a comme sujet les icônes hagiographiques exécutées du début du XVe à la fin du XVIIe siècle dans l'île de Crète qui était sous domination vénitienne depuis 1210. La prise de Constantinople par les Ottomans en 1453 a privé l'empire byzantin de son centre et la Crète, où plusieurs peintres constantinopolitains se sont réfugiés, a développé, sous leur influence, l'art du chevalet dans des ateliers organisés sur le modèle des ateliers occidentaux. La présente étude inclut 74 icônes de 26 saints. Dans l'introduction, la présentation du sujet est suivie de l'intégration des œuvres dans leur contexte historique et artistique, de la présentation de l'état de la recherche et de J'approche méthodologique. Le texte s'articule en quatre chapitres. Le premier inclut une présentation de la fréquence de l'illustration des saints sur les icônes, de la répartition des œuvres par siècle, de la localisation des peintres connus et des commanditaires d'après des inscriptions dédicatoires. Le deuxième aborde l'évolution de la typologie quant à la disposition du cycle hagiographique du saint par rapport à la représentation centrale, au nombre des compartiments et le rapport avec celui des épisodes illustrés, les modes de délimitation des compartiments et la mise en place des épisodes illustrés. Le troisième chapitre étudie en détail l'évolution de l'iconographie des scènes, de la constitution des cycles et de la diffusion des formules iconographiques, avec comme point de départ les cycles des saints Georges et Nicolas. L'étude de l'évolution iconographique des cycles des toutes les icônes, suivant l'ordre chronologique des œuvres, est abordée dans le quatrième chapitre
The present thesis is about vita icons executed from the beginning of the 15th to the end of the 17th c. on the island of Crete which was under Venetian rule since 1210. The capture of Constantinople by the Ottomans in 1453 deprived the Byzantine empire of its center and Crete, where several Constantinopolitan painters have taken refuge, has developed, under their influence, the art of the icons painting in workshops organized on the mode] of Western workshops. This study includes 74 icons of 26 saints. ln the Introduction, the presentation of the subject is followed by the integration of the works in their historical and artistic context, the presentation of the state of the research and the methodological approach. The text is divided into 4 chapters. The 1st includes a presentation of the frequency of illustration of saints on icons, the distribution of works by century, the location of known painters and sponsors based on dedicatory inscriptions. The 2nd deals with the evolution of the typology as to the disposition of the hagiographic cycle of the saint in relation to the central representation, the number of compartments and the relationship with that of the illustrated episodes, the modes of delimitation of the compartments and the establishment of the illustrated episodes. The 3d chapter studies in detail the evolution of the iconography of the scenes, the constitution of the cycles and the diffusion of the iconographic formulas, with as starting point the cycles of saints Georges and Nicolas. The study of the evolution of the iconography of the cycles of ail the icons, according to the chronological order of the works, is addressed in the 4th chapter

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Books on the topic "Byzantine Art"

1

Rice, David Talbot. Art of the Byzantine era. New York: Thames and Hudson, 1985.

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Hourihane, Colum P., ed. Byzantine Art. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.6.09070802050003050303080100.

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David, Buckton, ed. Byzantium: Treasures of Byzantine art and culture from British collections. London: Published for the Trustees of the British Museum by British Museum Press, 1994.

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Gary, Vikan, ed. Early Byzantine pilgrimage art. Washington, D.C: Dumbarton Oaks Research Library and Collection, 2010.

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Runciman, Steven. Byzantine art and civilisation. London: The Folio Society, 2004.

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C, Evans Helen, Wixom William D, and Metropolitan Museum of Art (New York, N.Y.), eds. The glory of Byzantium: Art and culture of the Middle Byzantine era, A.D. 843-1261. New York: Metropolitan Museum of Art, 1997.

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Durand, Jannic. L' art byzantin. Paris: Terrail, 1999.

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Jens, Fleischer, Hjort Øystein, and Rasmussen Mikael Bøgh, eds. Byzantium: Late antique and Byzantine art in Scandinavian collections. [Copenhagen]: Ny Carlsberg Glyptotek, 1996.

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Dauterman, Maguire Eunice, Maguire Henry 1943-, and Krannert Art Museum, eds. Ceramic art from Byzantine Serres. Urbana: University of Illinois Press, 1992.

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Slobodan, Ċurčiċ, St Clair Archer, Princeton University Library, and Princeton University. Department of Art and Archaeology., eds. Byzantium at Princeton: Byzantine art and archaeology at Princeton University. Princeton: Princeton University, Department of Art and Archaeology...[et al.], 1986.

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Book chapters on the topic "Byzantine Art"

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Ćurčić, Slobodan. "Representations of Towers in Byzantine Art: The Question of Meaning." In Byzantine Art, 1–37. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2788.

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Ševčenko, Nancy P. "Monastic Challenges: Some Manuscripts of theHeavenly Ladder." In Byzantine Art, 39–62. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2789.

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Cutler, Anthony. "Legal Iconicity: The Documentary Image, the Problem of Genre, and the Work of the Beholder." In Byzantine Art, 63–79. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2790.

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Jolivet-Lévy, Catherine. "The Bahattin Samanliği Kilisesi at Belisırma (Cappadocia) Revisited." In Byzantine Art, 81–110. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2791.

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Maguire, Henry. "Moslems, Christians, and Iconoclasm: Erasures from Church Floor Mosaics during the Early Islamic Period." In Byzantine Art, 111–19. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2792.

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Maguire, Eunice Dauterman. "Muslims, Christians, and Iconoclasm: A Case Study of Images and Erasure on Lamps in the Johns Hopkins University Archaeological Collection." In Byzantine Art, 121–52. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2793.

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Ousterhout, Robert. "Byzantium between East and West and the Origins of Heraldry." In Byzantine Art, 153–70. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2794.

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Kotzabassi, Sofia. "Manuscripts Speaking: The History of the Readership and Ownership." In Byzantine Art, 171–84. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2795.

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Skemer, Don C. "From Byzantium to Princeton: A Century of Collecting Greek Manuscripts." In Byzantine Art, 185–97. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2796.

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Rodley, Lyn. "The Byzantine Court and Byzantine Art." In Studies in the Early Middle Ages, 255–73. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.sem-eb.3.3828.

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Conference papers on the topic "Byzantine Art"

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Voutounos, Chrysanthos, and Andreas Lanitis. "On the Presentation of Byzantine Art in Virtual Environments." In 2011 3rd International Conference on Games and Virtual Worlds for Serious Applications (VS-GAMES 2011). IEEE, 2011. http://dx.doi.org/10.1109/vs-games.2011.34.

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Johnson, Nicholas. "CONTINUITY AND CHANGE IN THE SACRED ART OF THE RAMIFIED BYZANTINE EMPIRE." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.559j.

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This paper will look for evidence of continuity and change in the periphery and centre of the Byzantine Empire in the late Palaeologan period looking at examples of sacred art from before and after the Latin occupation of Constantinople (1204-1261), I shall attempt to identify examples of continuity which served to reestablish Orthodoxy and note changes in composition, style and symbolism which have come to be seen by some as a Palaeologan Renaissance. My contention is that the visual culture thrived even when the polity and economy of empire were compromised.

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Vilciu, Marian. "THE BYZANTINE ICONOGRAPHY, ART AND FORM OF REPRESENTATION OF THE SPIRITUAL WORLD." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.008.

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Tornari, Vivi, Antonia Bonarou, Paolo Castellini, Enrico Esposito, Wolfgang Osten, Michael K. Kalms, Nikos Smyrnakis, and Stergios Stasinopulos. "Laser-based systems for the structural diagnostic of artwork: an application to XVII-century Byzantine icons." In Lasers in Metrology and Art Conservation, edited by Renzo Salimbeni. SPIE, 2001. http://dx.doi.org/10.1117/12.445660.

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Vavliakis, Konstantinos N., Andreas L. Symeonidis, Georgios T. Karagiannis, and Pericles A. Mitkas. "Eikonomia-An Integrated Semantically Aware Tool for Description and Retrieval of Byzantine Art Information." In 19th IEEE International Conference on Tools with Artificial Intelligence(ICTAI 2007). IEEE, 2007. http://dx.doi.org/10.1109/ictai.2007.76.

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Galaicu, Violina. "Byzantine religious chanting between oral and written tradition." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.15.

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Those who scrutinized the historical development of Byzantine liturgical chanting could notice the late codification of this music. With the transition to the written tradition, a clear tendency to preserve orality in the new hypostasis emerged. Proto-Byzantine chanting circulated orally, this being conditioned by the original orality of the evangelical tradition. When the Eastern promoters of Christian liturgical chanting felt the need to codify the cultic repertoire, they resorted to the Ekphonetic notation, and later to the Diastematic one. Ekphonetic notation is a rudimentary notation, it has a mnemonic function, meaning the purpose of reminding the performer of a certain melodic formula that he knew before. The Diastematic notation, although it fixes several details of the melodic thread, also leaves enough room for interpretive ambiguity and can only be deciphered satisfactorily by those familiar with traditional practice. The attempt to explain the reluctance of the promoters of Byzantine religious music towards written codification will lead us to the deep roots of this art, as well as to its liturgical functionality.

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Йотов, Валери. "Archaeological and art parallels of byzantine sword discovered in grave no. 55 of Garabonc I necropolis (second half of 9th century)." In Hadak útján. A népvándorláskor kutatóinak XXIX. konferenciája. Budapest, 2019. november 15–16. 29th. Bölcsészettudományi Kutatóközpont Magyar Őstörténeti Kutatócsoport, 2022. http://dx.doi.org/10.55722/arpad.kiad.2021.4.1_11.

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The author stops attention on the famous sword that was discovered in the 80ies of 20th century in grave No 55 of the Garabonc I necropolis, Hungary. In 2011, the author wrote an article in attempt to systematize a few types of Byzantine swords. One of the types of swords he called „Garabonc type” – according to this weapon found in a sure archeological context. To date, „Garabonc type” is represented by six pieces – swords and/ or their details. The swords of this type are one-handed and consist of a blade with swordguards and hemispherical pommel on top. According the author, the closest artistic parallels to the „Garabonc type” of swords are depicted in famous manuscript of „The Homilies of Saint Gregory of Nazianzus” that was completed in Constantinople in 879–882, where similar swords are shown in four folios of the book. The discussed here sword type may be determined as a Byzantine invention and maybe it was produced in the empire. This has also been proved by some other works of art, although dated to a later period (9th–10th centuries). The author, accepted for most possible the hypothesis proposed by the first researcher B. M. Szőke that the Garabonc sword was transferred in the lands south of Balaton Lake by Bulgarsmercenaries. Most possibility that, they have joined the retinue of Prince Pribina, the head of the Blatna Principality and his son Chezil around the second third of 9th century.

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Yandim Aydin, Sercan. "„RENAISSANCE“ BEFORE THE RENAISSANCE: HUMANLY ASPECTS OF LATE BYZANTINE PAINTING. CASE: “THE ANASTASIS: AN IMAGE OF LIBERATION AND RESURRECTION”, STUDENICA MONASTERY." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.629ya.

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Present paper aims to readdress the idealized Renaissance con- ception of painting starting with the writings of Giorgio Vasari, which paved the way to a widely stereotyped and prejudiced evaluation of the Byzantine art within the general art historical framework. Consequently, placing the latter one inferior to the Renaissance. Further the paper attempts to revise the conventional assumptions about Byzantine painting. Visual interpre- tation of a dodecaorton subject, Anastasis Christi, is taken to provide evi- dence in understanding the humanly aspects in terms of iconography and reception of the scene. Material evidence is obtained from the monumental panting of the Studenica monastery, (ca. 1313-ca. 1320). General outline of its iconography, communal versus individual resurrec- tion, and specific depiction of one of the basic elements of iconography, Hades, reveal the fact that there is difference in the mind sets of Eastern and Western Christianity. Libri Carolini in the eighth century signifies the different visual understanding and reception. Also, the text-image relation is greatly influenced by the involvement of either theologians of a col- lective monasticism or individual aristocratic prayer. Thanks to the recent scholarly studies on cultural history and art history, a wider perspective is possible in order to comprehend the content of their cultural memories that comes into play in interpreting and reflecting religious subjects/imageries. As a result, artists and patrons of medieval Serbia were able to not just to inherit but also improve the inherited Byzantine artistic language in a com- plex positive way. Altogether referring to a renaissance in their rethinking and execution of the Byzantine models and beyond.

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Hasalova, Eva, Alena Piatrova, and Andrej Krivda. "Byzantine Embroidery Secondarily Applied on a Chasuble from the Cathedral of St. Elisabeth in Kosice (Slovakia) � Its Dating and Origin." In 7th SWS International Scientific Conferences on ART and HUMANITIES ISCAH 2020. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscah.f2020.7.2/s02.03.

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Errami, Latifa, and El Houcine Bergou. "Tolerating Outliers: Gradient-Based Penalties for Byzantine Robustness and Inclusion." In Thirty-Third International Joint Conference on Artificial Intelligence {IJCAI-24}. California: International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/ijcai.2024/435.

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This work investigates the interplay between Robustness and Inclusion in the context of poisoning attacks targeting the convergence of Stochastic Gradient Descent (SGD). While robustness has received significant attention, the standard Byzantine defenses rely on the Independent and Identically Distributed (IID) assumption causing their performance to deteriorate on non-IID data distributions, even without any attack. This is largely due to these defenses being excessively cautious and discarding benign outliers. We introduce a penalty-based aggregation that accounts for the discrepancy between trusted clients and outliers. We propose the use of Linear Scalarization (LS) as an enhancing method to enable current defenses to simultaneously circumvent Byzantine attacks while also granting inclusion of outliers. This empowers existing defenses to not only counteract malicious adversaries effectively but also to incorporate outliers into the learning process. We conduct a theoretical analysis to demonstrate the convergence of our approach. Specifically, we establish the robustness and resilience of our method under standard assumptions. Empirical analysis further validates the viability of the proposed approach. Across mild to strong non-IID data splits, our method consistently either matches or surpasses the performance of current approaches in the literature, under state-of-the-art Byzantine attack scenarios.

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