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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 généralIcons 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 chapitreThe 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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Milson, David. "Aspects of the impact of Christian art and architecture on synagogues in Byzantine Palestine." Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:17261fb5-fbfb-4417-90a3-f0d01673f262.
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This thesis examines the relationship between Jews and Christians in the Holy Land from the age of Constantine the Great to the conquest of the eastern provinces by the Arabs from an archaeological viewpoint. At stake is a better understanding of how Jews adapted to changing times, particularly during the rise of Christianity in Palestine. Whereas earlier scholars have viewed the growth of the Byzantine empire as time of persecution toward the Jews, a re-evaluation of the archaeological evidence indicates that Jews prospered along with their Christian neighbors. In scope, this dissertation aims first to re-evaluate how many ancient building remains can be classified as synagogues, and how many of those can be accurately dated. For only after a solid body of archaeological research is firmly established can further progress be made toward our better understanding of the ancient world. Diversity in contemporaneous synagogue layouts, rather than a linear development throughout this period is the norm. Yet, in the sixth-century, one-third of all known synagogues in Palestine bear similar features to early Byzantine churches: basilical layouts, mosaic floors, apses, and chancel screens. Since no single fourth-century synagogue had an apse or chancel screen in its repertoire of furnishings, a reform must have taken place, which ultimately enhanced the synagogue. It has long been held that this change had originated under the influence of the growing Christian population in the Holy Land. Examining the nature of early Christian liturgical practice throws light on these changes to synagogues. For the focal point of the early Christian basilica, the altar in the sanctuary, separated from the hall by a chancel screen, was adapted by these Jewish communities. By placing the Torah Shrine in the apse of synagogues, the sacred nature of the Five Books of Moses was glorified. In focusing on the apse and niche it is suggested that rather than a positive influence toward the Jews, the deeply-rooted rivalry between Christianity and Judaism was the main implement for change. Jewish leaders built synagogues with apses and chancel screens to amplify and venerate the most important object in the hall - the Torah Scrolls - kept in the Torah Ark. Unlike earlier buildings, the Torah Shrine was set in the same position as the altar in churches, in the apse. Renovating interiors, changes to entrances, and new types of furnishings in synagogues were the physical changes to this institution which reflect the impact of Christian art on synagogues.
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Raynor, Rebecca Elizabeth. "In the image of Saint Luke : the artist in early Byzantium." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/45102/.
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This thesis discusses the role and place of artists who painted icons in Early Byzantium. To date, they have not been the focus of much academic attention. Instead, information about artists is spread across a range of discussions concerning Byzantium and the history of art. This thesis collates and interprets the empirical and theoretical evidence to concentrate on the people who produced religious portraits before Iconoclasm. In so doing, I seek to further our understanding of these individuals, and offer a more nuanced view of their socio-cultural context, their practices, and the images they painted. This thesis is structured around two definitions of what the Early Byzantine artist could be: ideal and real. I start with the legend that St Luke painted portraits of Christ and the Virgin from life. Part One, ‘The Ideal Artist', considers in turn: the legend of St Luke as an artist and its origins; Luke as an ideal artist; and two other ideal artists: God and the emperor. Part Two, ‘The Real Artist', considers in turn: icons; literary and legislative texts; and finally the motivation for producing religious imagery before the eighth century. The anonymity of artists working in the Early Byzantine period seems to have delayed scholarly interest in them. In this thesis, however, I consider their anonymity as crucial evidence for who artists were: believers. Christian faith in Byzantium is a recurrent theme in this thesis. I argue that artists practiced humility by not signing their work and painted icons to demonstrate, develop, and deepen their love for God. Further, I argue that artists who depicted Mary and Jesus as Mother and Child, as Luke had done, imitated the Evangelist and participated in his image.
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Konis, Polyvios. "From the Resurrection to the Ascension : Christ's post Resurrection appearances in Byzantine Art." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/663/.
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This thesis examines the evolution and dissemination of the iconography of the post-Resurrection appearances of Christ. Special attention is given to the association between word and image, as well as the influence exerted on art by contemporary theology, liturgy and politics. The earliest use of these apparitions in art is associated with baptism while in literature they were successfully employed against heresies. The Virgin’s participation in the post-Resurrection narrative reveals the way in which homilies and hymns inspire art. Another important figure of these apparitions, which receives special attention, is the Magdalene, whose significance rivalled that of the Virgin’s. While the Marys at the Tomb and the Chairete were two of the most widely accepted apparitions, it was the Incredulity of Thomas that found its way in the so-called twelve-feast cycle and revealed the impact of liturgy upon the dissemination of an iconographic theme. The emergence of the Anastasis will rival their exclusive role as visual synonyms of Christ’s resurrection, but this thesis reveals that their relation was one of cooperation rather than rivalry, since the post-Resurrection scenes and the Anastasis complimented each other in terms of iconography and theology. Finally it becomes apparent that the pilgrimage in the Holy Land and the liturgy that was taking place there is responsible for many iconographic details which help us discern the dissemination of a particular iconography.
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Tsakalos, Antonios. "Le monastère rupestre de Karanlik kilise : monachisme, art et patronage en Cappadoce byzantine." Paris 1, 2006. http://www.theses.fr/2006PA010715.
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Le monastère rupestre de Karanhk kilise est un des monuments les plus importants de la Cappadoce byzantine. Le témoignage archéologique permet de formuler diverses hypothèses sur l'identification des salles du monastère et sur les types de monachisme pratiqués en Cappadoce. Karanhk kilise, une des trois églises « à colonnes », suit un plan en croix grecque inscrite, avec un narthex prolongé par une annexe funéraire. L'iconographie et le style des peintures, le répertoire ornemental exubérant et la paléographie des inscriptions confirment la datation de ce décor vers le troisième quart du XIe siècle. Cette étude privilégie la valeur fonctionnelle de cet art et ses liens avec la liturgie, et propose une lecture dynamique qui révèle les thèmes principaux du programme iconographique. Les nombreuses particularités et l'organisation savante du programme sont l'indice de l'intervention des sept donateurs, mais aussi de la collaboration entre architecte, peintre et concepteur(s) du décor.
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Franses, Henri. "Portraits of patrons in Byzantine religious manuscripts." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22359.
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Byzantine religious manuscripts were commissioned by people from many levels of society. Several contain portraits of their commissioners, represented together with a holy figure. An analysis of these scenes, examining features such as the holy figures represented and their specific iconographic meaning, and the relation of mortal to divine, reveals many facets of Byzantine art, religion and society. This analysis indicates a major distinction between portraits representing the emperor, and those depicting all other patrons. Non-imperial portraits show deep personal devotion and piety. The manuscripts in which they occur were commissioned to honour the holy figure, and many request salvation in return. Imperial commissions, on the other hand, were not votive gifts. Their portraits stress the public, political, and occasionally religious role of the emperor as the elected of God upon earth, and head of state. These portraits are thus highly informative of several aspects of Byzantine life.
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Gavril, Iuliana-Elena. "'Archi-texts' for contemplation in sixth-century Byzantium : the case of the Church of Hagia Sophia in Constantinople." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40497/.
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This thesis aims to contribute towards a better understanding of what the Byzantines experienced in church spaces. By thoroughly mapping users' encounters with the church of Hagia Sophia in Constantinople in the sixth-century, it examines whether the experience of the architectural space during the Eucharistic ritual augmented a religious experience, which in turn, influenced the way the Byzantines talked about their spiritual experience whilst being in a church, and thought of their churches as ‘heaven on earth.' It places textual evidence alongside architectural evidence. The basic approach of this thesis is rooted in phenomenology and multisensory perception of space. In the first chapter, I make a case for the necessity of studying the textual evidence in light of the spatial experience of the building. I suggest that the concept of ‘archi-text' is key to answering the question of what was a church in sixth-century Byzantium. Developed in three chapters, the textual analysis focuses on sixth-century ekphraseis of Hagia Sophia written by Procopius of Caesarea and Paul the Silentiary, and the inauguration kontakion composed for the church dedication. In the first two chapters, I examine how the spatial perception of the church influenced the way Hagia Sophia was described. In the next chapter, I explore how the Byzantines thought of the church in symbolic and theological terms. The literary analysis concludes that Hagia Sophia was perceived as a centralised space and represented as a ‘heaven on earth.' These two points are further scrutinized all through the spatial analysis of the church. The final chapter links the Byzantines' symbolic representation of the church to the architectural physicality of Hagia Sophia.
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Lagou, Ioanna. "L'iconographie de l'enfance dans l'aire byzantine à l'époque des Paléologues." Paris, EPHE, 2009. http://www.theses.fr/2009EPHE5026.
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Cette thèse traite l’iconographie de l’enfance à travers l’image de trois types d’enfants : l’enfant impérial, l’enfant noble et l’enfant anonyme. Les deux premiers apparaissent souvent dans des portraits familiaux ; l’image de l’enfant anonyme est étudiée dans certaines scènes christologiques, dans la représentation des enfants auprès de saints personnages ou encore dans des scènes inspirées par la liturgie. Le statut de l’enfance est brièvement étudié dans le premier chapitre, tandis que les deux chapitres suivants analysent la présence des enfants dans l’imagerie, tous supports confondus, à l’aide de divers exemples, et le cas échéant, à l’aide des témoignages textuels de l’époque. Certains exemples ont plus longuement retenu l’attention : ceux pour lesquels est proposée une nouvelle interprétation, tel le portrait de la « despotissa » d’Arta Théodora accompagnée d’un petit prince, ou ceux dont la richesse iconographique est remarquable, comme la scène de l’Entrée à Jérusalem. Ce travail n’est pas exhaustif, mais essaie de montrer, à partir de l’étude de l’iconographie enfantine, quels étaient la place et le rôle des enfants dans la société byzantine à l’époque paléologue. Leur image est en effet le reflet d’une période en plein bouleversement politique et social, pendant laquelle l’individu trouve de nouvelles voies d’émancipation et qui laisse plus de place à l’initiative des donateurs et des artistes. La production artistique propose de nouvelles formules ou revisite celles déjà établies dans le répertoire iconographique. Dans ce cadre, la présence de l’enfance est constante et porte des messages qui lui sont propresSubject of the present study, concerned with the iconography of childhood, is the illustration of three types of children: the imperial, the noble and the common. The first two types are often traced in family portraits; the common child icon is mainly studied in Christological scenes, in scenes with saints and in scenes portraying certain liturgical activities. In the first chapter the status of children within society is briefly addressed, while in chapters two and three using a variety of works of art as example, supported also, when that possible, by textual evidence of the period that produced them, a more thorough analysis of the presence of children in the iconography is attempted. Some of these are analysed in more detail as arguments establishing a new interpretation of scenes arise, as is the case of the portrait of “Despotissa” of Arta Theodora who is depicted with a little prince or others because of their remarkable iconographical theme, such as the composition of the Entry into Jerusalem. This study is not exhaustive, but it is an effort to understand, through the iconography of childhood, which was the place and role of children in the byzantine society of Paleologan times. The icon of children is the product of a period of constant changes in both the political and social field where the individual finds new means of emancipation, and donors, as well as artists, have more often the opportunity to take initiatives. The artistic production proposes new iconographic formulas or revisits the old ones. In this context, the presence of children is constant and manifests its own value
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Barber, Charles Edward. "Image and cult : studies in the representation of the Virgin Mary in early medieval art." Thesis, Courtauld Institute of Art (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261573.
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Christidou, Anna. "Unknown Byzantine art in the Balkan area : art, power and patronage in twelfth to fourteenth century churches in Albania." Thesis, Courtauld Institute of Art (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632863.
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Bohlander, Ruth Ann. "Mother of God, Cease Sorrow!: The Significance of Movement in a Late Byzantine Icon." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/105691.
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Art HistoryM.A.
The relationships between movement, emotion, and ritual communion in Byzantium have drawn the attention of art historians in recent years. While Henry Maguire has considered many facets of this subject, a monumental Late Byzantine icon, the Two-Sided Icon with the Virgin Pausolype, Feast Scenes, the Crucifixion and Prophets, suggests others. While the catalog entry by Annemarie Weyl Carr in Byzantium: Faith and Power remains the only published discussion of this particular icon, or even specifically of the Pausolype ("cease sorrow!") iconographic type, I believe that this image contributes significantly to our understanding of Late Byzantine culture and liturgical practice. Careful study of this particular icon encourages a consideration of the problematic subject of emotion, and its interactions with movement, ritual and art. The paucity of evidence makes it difficult to address specific devotional practices associated with this particular object, although some observations can be made. I am able, however, to align it with its iconographic antecedents and establish contemporary relationships, illuminating aspects of its original function.
Temple University--Theses
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Mango, Marlia Mundell. "Artistic patronage in the Roman diocese of Oriens, 313-641 AD." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670405.
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Mergiali, Sophia. "L'enseignement et les lettres pendant l'époque des Paléologues." Paris 1, 1991. http://www.theses.fr/1991PA010599.
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La dernière phase de l'histoire de Byzance (1261-1453), coïncide avec un grand essor intellectuel connu comme la "seconde renaissance byzantine". Amorcé sous l'empire de Nicée (1204-1261), ce second grand renouveau de l'intérêt pour l'antiquité grecque s'épanouira au long de l'époque des paléologues, en dépit du repli politique, militaire, social et économique, pour léguer ses conceptions et certains de ses aspects a la renaissance italienne. Bien que le rôle de l'éducation dans l'ascension sociale est primordial, celle-ci, laissée à l'initiative personnelle ou privée, ne fait pas l'objet de règlementation officielle. En fait, la portée du rôle de l'empereur et du patriarche en tant que principaux promoteurs de l'enseignement et de la culture est limitée et concerne uniquement la capitale. Comme aux siècles précédents le cycle de l'éducation comporte trois étapes (hiera grammata, enkyklios paideia et enseignement de haut niveau) qui ne sont parcourues jusqu'au but que par une classe sociale aspirant au pouvoir public ou ecclésiastique sinon par des individus qui visent à la notoriété intellectuelle. Or, pour la grande majorité l'enseignement reste attaché aux matières qui ont une application directe la vie publique, notamment la grammaire, la poésie et la rhétorique. .The last phase of Byzantium's history (1261-1453) coincides with a big intellectual uprising known as the "second byzantine renaisance. Starting under the empire of Nicée (1204-1261), this second big renewal of interest in the ancient greeks expanded all along the periode of palaiologues inspite of political, military, social and economic decline, passing over to the italian renaissance some of its ideas and conceptions. While education was essential for upward social mobility, it was left under personal or private initiative and without any official regulation. In fact, the primacy of the emperor an the patriarche as culture and education promoteurs was limited and only effective in the capital. Like in the preceding centuries education was echieved in three different stages (hiera grammata, enkylios paidela and high level education) that were not completed but by a particular social class looking for public or ecclesiastic power or by individuals seeking intellectual notoriety. Yet for the big majority of citizens education remained attached to practical matters that had direct application in public life : grammar, poetry an rhetoric. .
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Hostetler, Brad. "The art of gift-giving the multivalency of votive dedications in the Middle Byzantine period /." Tallahassee, Florida : Florida State University, 2009. http://etd.lib.fsu.edu/theses/available/etd-07072009-210837/.
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Thesis (M.A.)--Florida State University, 2009.Advisor: Lynn Jones, Florida State University, College of Visual Arts, Theatre & Dance, Dept. of Art History. Title and description from dissertation home page (viewed on Oct. 23, 2009). Document formatted into pages; contains viii, 65 pages. Includes bibliographical references.
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Dittelbach, Thomas. "Rex Imago Christi : Der Dom von Monreale - Bildsprachen und Zeremoniell in Mosaikkunst, Architektur und Skulptur /." Wiesbaden : Reichert, 2003. http://catalogue.bnf.fr/ark:/12148/cb391240485.
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Xanthopoulou, Maria. "Les luminaires en bronze et fer aux époques paléochrétienne et byzantine : typologie, technologie, utilisation." Paris 1, 1997. http://www.theses.fr/1997PA010629.
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Parmi les objets utilitaires en métal vil, les luminaires constituent une partie importante des collections byzantines et du matériel archéologique trouve en contexte. En vue d'une première étude d'ensemble, nous avons choisi de traiter les quatre types de luminaires que l'on rencontre le plus fréquemment dans l'empire byzantin : les lampes à bec, les candélabres, les lampes en forme de coupe et les lustres. Il convenait aussi de présenter les accessoires associés à ces objets, à savoir les éléments de suspension, les récipients à huile, les supports de mèche, et de mentionner les combustibles employés. L'objectif principal est d'établir une typologie formelle pour chaque catégorie de luminaire étudiée. Le matériel issu de contextes archéologiques permet de localiser la production et d'illustrer sa diffusion chronologique et spatiale. La comparaison systématique de nos luminaires avec des objets équivalents en céramique et en verre, aussi bien que leur mise en rapport avec d'autres types d'objets métalliques contemporains, qu'il s'agisse d'objets utilitaires ou de dévotion, sert à les rattacher à un contexte artisanal précis. Nous procédons par la suite à l'examen des matériaux, des techniques de fabrication et de décor des luminaires en métaux cuivreux. Les analyses chimiques, l'observation des moules et des traces de procédés divers sur les objets fournissent notre point départ. Une collecte de renseignements archéologiques et textuels relatifs à l'artisanat du cuivre complète notre approche technique. Le cout de la matière et sa résistance à l'usure font de nos luminaires des objets relativement précieux que l'on peut associer à des utilisateurs aises, laïcs ou ecclésiastiques. Nous nous penchons sur les contextes de découverte, ainsi que sur les sources écrites et picturales, afin de déterminer les lieux dans lesquels ils étaient employés et de préciser la terminologie des luminaires à ByzanceAmong the utilitarian objects made from non-precious metals, lighting devices constitute an important part of byzantine collections and archeological finds. We have chosen to examine the four main types of lighting devices most commonly used in the byzantine empire : lamps, lampstands, hanging bowl lamps and polikandela. We also present the different accessories associated with these objects, such as suspension chains, oil containers, wick holders, and to specify the fuel employed. Our main objective is to establish a typology for each category of lighting device. Material discovered in archeological context allows us to locate production centers and illustrate the distribution of the different types in space and time. Systematic comparison of our lighting devices with equivalent objects in clay and glass, as well as with other contemporary metal objects, whether utilitarian or devotional, helps us relate them to a specific crafts'context. We then examine the materials, fabrication and decorative techniques of the lighting devices made from copper alloys. Chemical analyses, close observation of moulds and of traces left by different techniques on the objects themselves, constitute our starting point. A survey of archeological and litterary evidence concerning the copper industry and craftsmanship completes our technical approach. Cost and resiliance turn our lighting devices into relatively precious objects, which can be associated with wealthy, lay or ecclesiastical users. We take into consideration the archeological contexts, as well as pictorial and litterary information, in order to determine where these lighting devices were used and which terms described them in Byzantine times
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Goldfus, Haim. "Tombs and burials in churches and monasteries of Byzantine Palestine (324-628 A.D.)." Full text available, 1997. http://images.lib.monash.edu.au/ts/theses/goldfus.pdf.
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Kotsis, Kriszta. ""Your body, O Empress, is a treasure of marvelous qualities" : representations of Middle Byzantine empresses (780-1081) /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6227.
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Joumaa, Jamal, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The influence of the icon in contemporary Egyptian art." THESIS_CAESS_CAR_JOUMAA_J.xml, 2002. http://handle.uws.edu.au:8081/1959.7/229.
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The icon represents a great part of the heritage of Christian arts in Egypt. In this thesis the early stages of iconic art are studied to find out the influential factors leading to the formation of the icon as it is now. The Coptic icon in particular is studied, both the icon itself and how it differs from the Byzantine icon. The religious factor is focussed on as an effective and modelling element in defining the icon, and the symbols are studied in order to go back to their historical roots. This study also aims at tracing the phenomenon of iconic art, by studying its characteristics and the works themselves and by clarifiying the iconic symbols as part of the cultural and creative activity. The important artworks in iconic art are analysed, and the effect of iconic art on human and social life is shownMaster of Arts (Hons)
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Osbourne, Gavin. "Mosaics of power : superstition, magic and Christian power in early Byzantine floor mosaics." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54017/.
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This thesis argues that some Early Byzantine floor mosaics had, in addition to a practical and decorative role, a supernatural function. By this I mean the images and words depicted within the mosaic were perceived as devices to attract powers from a supernatural dimension, for the benefit of those that walked over the mosaic or the building that housed it. The thesis is ultimately a discussion of the Byzantines' beliefs in the power of art and text, and how they were believed to intervene and affect everyday life. My examination is carried out with a focus on the floor mosaics produced between the fourth and seventh centuries in the Byzantine Empire. Using an iconographic methodological approach, the thesis explores how certain images and words incorporated within mosaic designs can be seen in supernatural terms. To do so, comparable material objects with clearer supernatural functions will be examined. Primary sources that indicate how certain motifs were perceived to bring about powers will also be analysed. In this thesis, I analyse the different kinds of devices that were depicted to attract supernatural powers and explore why those devices were believed to have the ability to generate powers. The thesis illustrates how power could be seen as being rooted in Christianity, magic or more unclear sources. Expanding on this discussion, I explore how a single mosaic could incorporate elements from several sources, dispelling scholarship that portrays the Early Byzantine period as predominately influenced by Christianity. The other key function of the thesis is to emphasise the fact that mosaics can be considered in terms of the conscious design process of their construction, placing them within the same category as gemstones and icons in terms of purposeful objects.
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Isar, Nicoletta. "Le monastère de Suceviţa dans le contexte des églises moldaves et de la peinture post-byzantine." Paris 4, 1995. http://www.theses.fr/1995PA040120.
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Cette thèse rend compte en détail du programme iconographique de Sucevita,le plus élaboré et le mieux conservé de toutes les peintures murales extérieures des monastères de Moldavie et l'éclaire par le contexte historique,politique et culturel. La Moldavie a joué un rôle majeur dans l'expansion de h'esychasme au sein du monde post-byzantin. L'hésychasme est la source d'inspiration idéologique de tous les monastères moldaves du XVIe siècle. Les éléments relatifs à ce mouvement de pensée avainet déjà été reconuus dans l'Echelle de Climaque,dont l'importance dans le programme de Sucevita est soulignée ici. Les mêmes éléments permettent d'expliquer des images dont la signification était restée obscure,par exemple le Double Logos,Le Fils unique,la Vie de Moi͏̈se. Une interprétation est proposée pour chaque inscription. Méthodologiquement,l'iconographie de Sucevita est abordée selon l'esthétique byzantine et,surtout,post-byzantine ; il fallait échapper aux suppositions partant de l'esthétique occidentale du Moyen-Age et de la Renaissance. A cette fin,les théories sémiotiques de Zhegin et Uspensky ont été largement exploitéesOf all the externally-painted monasteries of Moldavia,Sucevita is among the most elaborated and the best-preserved. .
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Dimopoulos, Johanna. "A study of Byzantine Sgraffito Wares (11th to 13th century) : classification, production, circulation and art historical analysis." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425731.
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McVey, Mollie Elizabeth. "Beyond the Walls: The Easter Processional on the Exterior Frescos of Moldavian Monastery Churches." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1822.
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During the sixteenth century, the princes of Moldavia, a region of modern Romania, built many churches and monasteries. These churches followed the typical Byzantine style by placing detailed frescos on the interior walls, but some of the Moldavian churches took that tradition even further and expanded the frescos to the façade. This thesis argues that these exterior images were used to enhance the Easter processionals that occurred around the churches. While most scholars explain this phenomenon as propaganda or a cry for help against the Ottoman Empire, a new interpretation is offered here. It discusses how the exterior scenes on the churches depict different sections of the Orthodox Lenten Services that occur during the ten weeks prior to Easter, the most important feast day in the Orthodox calendar. Four of these painted monasteries, Voroneţ, built in 1488 and painted in 1547, Humor, built in 1530 and painted in 1534, Moldoviţa, built in 1532 and painted in 1537, and Suceviţa, built in 1582 and painted in 1595, are analyzed to show the link between these feast days and the frescos. The paper connects Moldavia to the Byzantine Empire, showing a long tradition of supporting the Orthodox faith. The history of frescos. The paper connects Moldavia to the Byzantine Empire, showing a long tradition of supporting the Orthodox faith. The history of different religious processions performed throughout the Orthodox year during the Byzantine Empire are discussed in conjunction with their survival in Moldavia after the Empire fell. The study concludes that the exterior frescos on the Moldavian churches enhanced the Orthodox processionals that took place during Easter week.
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Joumaa, Jamal. "The influence of the icon in contemporary Egyptian art." Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/229.
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The icon represents a great part of the heritage of Christian arts in Egypt. In this thesis the early stages of iconic art are studied to find out the influential factors leading to the formation of the icon as it is now. The Coptic icon in particular is studied, both the icon itself and how it differs from the Byzantine icon. The religious factor is focussed on as an effective and modelling element in defining the icon, and the symbols are studied in order to go back to their historical roots. This study also aims at tracing the phenomenon of iconic art, by studying its characteristics and the works themselves and by clarifiying the iconic symbols as part of the cultural and creative activity. The important artworks in iconic art are analysed, and the effect of iconic art on human and social life is shown
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Lovino, Francesco. "Bisanzio fuori Bisanzio. Le illustrazioni dei manoscritti greci di origine provinciale conservati alla Biblioteca Nazionale Marciana." Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3424019.
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The aim of the essay is to analyze the production of greek manuscripts in the peripheral areas of the byzantine empire, providing an art-historical perspective to one of the most debated issues in studies. Moving from the extraordinary heritage of the Biblioteca Marciana of Venice, were selected fifteen decorated manuscripts, emblematic of a production often underestimated.
After an introduction dedicated to the constitution and development of the collection, from Bessarion to the eighteenth-century collectors, the essay will firstly focus on greek manuscripts made in Southern Italy and Sicily between the tenth and fourteenth centuries. The study of ornamentation between the tenth and eleventh century is conducted through the analysis of the decorative repertoire that developed in Calabria, Campania and Lazio as a result of the intensification of relations between greek monasticism and Benedictine monasticism; then it goes to the study of cultural policy of Norman rulers in Sicily during the twelfth century, and its effects on the byzantine miniature in Sicily. A further chapter is finally devoted to the Salento of the fourteenth century, deepening the illustrations of Glycas Marc. gr. Z. 402 (1031).
The second section of the essay focuses on oriental provinces and Greece between X and XIV century. Moving from paleographic and codicological studies, the first chapter of the section is intended to provide an art-historical perspective on manuscript production in the peripheral areas of Constantinople, tying some "eccentric" details to the ornamental repertoire of certain provinces, from Cappadocia to Bithynia, to Greece. Finally, the last chapter deepens the book decoration in Thessalonica at the beginning of the fourteenth century, studying its relations with the monumental art in Macedonia and in Serbia under Stephen Uroš II Milutin.L’elaborato intende affrontare criticamente la produzione di manoscritti greci nelle aree periferiche dell’impero bizantino, fornendo un punto di vista storico-artistico ad una delle problematiche più dibattute dagli studi contemporanei. Muovendo dallo straordinario patrimonio della Biblioteca Marciana di Venezia, sono stati selezionati quindici codici che, per la loro decorazione, sono emblematici di una produzione spesso sottovalutata. Dopo un’introduzione dedicata alla nascita e allo sviluppo della collezione marciana, da Bessarione fino ai collezionisti del Settecento, nella prima parte del lavoro l’attenzione è posta sui codici greci realizzati in Italia meridionale e in Sicilia fra il X e il XIV secolo. Dallo studio dell’ornamentazione fra X e XI secolo, attraverso l’analisi del repertorio decorativo che si sviluppò fra Calabria, Campania e Lazio quale conseguenza dell’intensificarsi dei rapporti fra monachesimo greco e monachesimo benedettino, si passa quindi ad analizzare la politica culturale della dinastia Altaville nel XII secolo, e dei suoi riflessi sulla miniatura bizantina nell’isola. Un ulteriore capitolo è poi dedicato al Salento del XIV secolo, approfondendo le illustrazioni del Glycas Marc. gr. Z. 402 (1031). La seconda sezione dell’elaborato si concentra invece sulle provincie orientali e la Grecia fra X e XIV secolo. Muovendo da studi paleografici e codicologici, il primo capitolo della sezione intende offrire un punto di vista storico-artistico sulla produzione manoscritta nelle aree periferiche di Costantinopoli, legando alcuni dettagli “eccentrici” del repertorio ornamentale a determinate provincie, dalla Cappadocia alla Bitinia, alla Grecia continentale.Conclude il lavoro un approfondimento sulla decorazione libraria a Tessalonica all’inizio del Trecento, e sui suoi rapporti con l’arte monumentale in Macedonia e nella Serbia di Stefano II Uroš Milutin.
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McNulty, Barbara R. "Cypriot Donor Portraiture: Constructing the Ideal Family." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/80701.
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Art HistoryPh.D.
This study focuses primarily on donor portraits of families found in Cypriot wall paintings and icons created during the Lusignan and Venetian periods. Although donor portraiture is a mode of expression that dates to antiquity, in the medieval period an increasingly prosperous upper middle class used this genre more frequently. My concern is with the addition of children to these portraits and the ways in which this affects the family portrayal on Cyprus. These portraits are intriguing because they provide a rare glimpse into the culture and people of this island as constructed within the medium of portraiture. They provide visual evidence of the donors' ideals of family in these lasting monuments to their memory. There are noticeable changes in these portraits through time that indicate the shifting foreign rulership faced by the population. Part of the Byzantine Empire until captured by Richard the Lionheart in 1191, Cyprus came under Frankish domain when it was transferred in 1192 to Guy de Lusignan, the dispossessed King of Jerusalem. For years Cyprus had been a stopping place for pilgrims and, later, crusaders on their way to the Holy Land. By the time Cyprus came under Venetian rule, it had grown as a stopping place for merchants as part of their trade route to the East. This exposure to cross cultural trade, migrations, and differing reigning powers makes Cyprus a complex study in social history. These layers of mixed social identities across ethnic, religious and political boundaries are documented in the island's donor portraits. Part of this analysis is an attempt to discern in these constructed identities what is indigenous, what is foreign and what is part of the changing times. A close examination of these images uncovers this mingling of identities and certain conventions in the way these donor portraits become expressions of the family. The strategy used to examine these donor portraits is to look at them by employing some of the characteristic functions of portraiture, in this case as outlined by Shearer West in her introduction to portraiture. After an introductory chapter that details some background on donor portraiture and the art of Cyprus, each of the following chapters uses two main images for comparison to explore the ways in which they might reveal aspects of the family. This comparative method is used in the successive chapters with the one constant image of the Zacharia family, painted during the Venetian occupation, as a basis for comparison. Chapter two takes this portrait and compares it to the portrait of Neophytos, a twelfth-century hermit monk who also used the Deësis scene as the setting for his portrait. By looking at these particular scenes as works of art, this chapter introduces ideas to consider throughout the dissertation on the ways these constructions reveal wishes of the donors, such as strategies of hierarchy, of veneration and viewer's access. Chapter three explores how the family group portrait serves as a document for the biography of the family. Chapter four deals with the important social practice of the dowry and my idea that some of the later portraits, which include daughters, may be displaying dowry wealth. Chapter five looks at family commemorative portraiture found particularly in icons, beginning the fourteenth century, where deceased family members are portrayed alongside, seemingly, living family members. Finally, in chapter six, I examine the ways in which these family portraits may indicate political changes on the island, especially as Cyprus moves from a feudal society to a commercial one in the Venetian period. In order to facilitate discoveries that might be made by organizing the material in a systematic manner, I have assembled a catalogue of Cypriot family donor portraits and a chart indicating the numbers of men, women and children included in family groups, in the appendices. It is my hope that this dissertation will create more discussion about family groups and will, hopefully, uncover other portraits that may be added to this list, making it a more complete picture of the surviving record.
Temple University--Theses
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Zoumboulaki, Sophia. "L' Arbre de Jessé et la représentation des philosophes grecs et autres sages païens dans la peinture murale byzantine et post-byzantine." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010516.
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L'Arbre de Jessé est une image particulièrement complexe qui a connu plusieurs variantes iconographiques. Le type christologique complexe est une création byzantine du sujet. Ce type est constitué de plusieurs éléments iconographiques, comme des scènes prophétiques, des figures des ancêtres et des prophètes. A ce noyau iconographique s 'ajouteront à partir de la fin du XIIIe siècle et le début du XIVe siècle les figures des sages et philosophes païens. Dans la présente étude nous examinons l'iconographie de ce type et nous essayons de comprendre, à travers les images et les inscriptions écrites sur les rouleaux des sages païens, cette association afin de retracer ses étapes d'évolution principales dans la peinture murale byzantine et post-byzantineThe Tree of Jesse is a particularly complicated pictorial theme, which can be found in many different versions. The complex christological type is a purely Byzantine creation. Towards the end of 13th and early 14th century, figures of sages and philosophers of the Greek antiquity are added to this type, which already contains many iconographic elements such as prophetic and evangelical scene and independent figures of prophets and ancestors of Christ. In this study we examine the compositions and the texts of the inscriptions written on the pagan's scrolls this iconographic combination in order to trace its key evolutional stages in Byzantine and post-Byzantine mural painting
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Joumaa, Jamal. "The influence of the icon in contemporary Egyptian art." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030506.114529/index.html.
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Tavardon, Paul. "Recherche sur l'astronomie byzantine : un aspect de la premiere renaissance des paleologues." Toulouse 2, 1987. http://www.theses.fr/1987TOU20022.
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Une introduction commence par developper le lien entre l'ideologie et l'astronomie, depuis ptolemee, jusqu'au xive siecle a byzance. On voit se dessiner un ptolemee byzantin, un ptolemee de l'islam. Il apparait que le courant mystique venu tant du neoplatonisme que du christianisme, ont bloque l'elan scientifique. Il fallut un long reveil de la raison, qui devait parvenir a une autonomie et se manifester enfin par un platonisme culturel. C'est ce platonisme qui se montrera porteur d'une astronomie calculatoire et mathematique. La methode de travail basee essentiellement sur la comparaison d'un reel astronomique "reconstitue" et de tables utilisees a l'epoque etudiee, permit de mettre en evidence une authentique creation astronomique dans le domaine du pur calcul, avec cependant une tentative de retour au reel et a l'observation. Retour au reel qui illustre singulierement a nos yeux les mecanismes de renaissance scientifique de l'occidentIn the introduction, the link between ideology and astronomy, from ptolemy to the xiv th century in byzance, appears and grows stronger. A byzantine and islamic ptolemy stand out. . . It is clear that the mystical stream, born from neoplatonism and christianism had stopped the scientific impulse. Hence stood that long awakening of reason, which finally reached its autonomy and revealed itself under the shape of a culturel platonism. That platonism will give birth to a calculatory and mathematical astronomy our way of working, essentially based on a comparaison between a factual astronomy reconstitued by computer, and some tables astronomical creation in the spere of a pure computation, yet following an attempt to a reversion to reality and observation. That reversion peculiary, to our mind, the mechanism of the western scientific revival
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Karoussos, Ekaterini. "Theōria : the veneration of icons via the technoetic process." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/8069.
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The Second Council of Nicaea, in 787 AD, marked the end of iconoclasm, while in 843 the Treaty of Verdun laid the foundations of Europe. With these agreements, a sustained period of imageless iconolatry was initiated. However, the veneration of icons was based on the absolute worship of matter and form, which replaced the prime spiritual concept of ‘image and likeness’. Millennia of research and thought resulted in imageless representations of natural phenomena. Pushing aside the topology of the image and its sign, the intelligent man, from the Age of Reason and onward, considered himself as an auto-authorised and teleological-free entity. To this end, he maximised the intelligibility of his space by designing an all-inclusive Cartesian cocoon in which to secure his mass and form. Yet, there he found his pet (Schrodinger’s Cat) to be both dead and alive, and the apple, still forbidden, had become a bouncing ball, serving as evidence of gravity. Hence, this intelligent design, by default, carries the residual fear of Manichaean and Augustinian devils, and is deemed to have converted to a de-sign crisis. Relying on literature sources, this dissertation examines two dominant models that govern human cognition and the production of knowledge. Despite remarkable scientific achievements which resulted, the aftermath of human progress was, among others, the maximisation of residual fear, to such an extent that voracious black holes devour all matter. Inaugurating the transhumanist period, the human becomes a Manchurian Candidate, still an upgraded ape and a victim of his own nature in the Anthropocene. In an attempt to overcome this de-sign crisis, the research presented in this thesis aims to address the necessity of the restoration of icons, as evidenced by Byzantine art and philosophy but neglected in the name of human supremacy and imperialism. This thesis elucidates Classical and Late Antiquity manuscripts in an effort to set a new ‘restore point’, endeavouring to launch the image in the current organosilicon substances; examples from Scripture narratives as well as from visual arts contribute to this effort. The proposed concluding scheme is the Module of Theōria, which reflects the major transhumanistic elements such as transmutation, interaction and fluidity. Theōria functions through noetic mechanisms, using ‘image and likeness’ as the prime carriers of knowledge. The anticipated outcome is to reveal a human investment in a pro-nature incorruptibility with the advent of Theōria in the field of Τechnoetics, where one can administer ‘image and likeness’ to gain capital liquidity.
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Michael, Angelika. "Das Apsismosaik von S. Apollinare in Classe : seine Deutung im Kontext der Liturgie /." Frankfurt am Main : P. Lang, 2005. http://catalogue.bnf.fr/ark:/12148/cb41120552t.
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Janniard, Sylvain. "Les transformations de l'armée romano-byzantine (IIIe - VIe siècles PR. J. C) : le paradigme de la bataille rangée." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0030.
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L'étude a pour objet les transformations de l'armée romano-byzantine pour la période qui couvre les IIIe-Ve s. Dans la partie occidentale de l'Empire romain et jusqu'au VI s. Pour sa partie orientale. Celles-ci sont examinées à travers le prisme de la bataille rangée, elle-même analysée aux différentes échelles de son déroulement: des conditions présidant à sa survenue, jusqu'à son issue, en abordant aussi l'encadrement, le rongement et les évolutions des troupes, leurs modes de combat enfin. La pression exercée par les peuples extérieurs a bouleversé dès le III s. Les choix stratégiques de l'Empire, tandis que les transformations de l’armement et de l'organisation interne des unités paraissent étroitement liées aux renouvellements tactiques alors constatés. Confrontée à des menaces militaires renforcées mais diffuses, l'armée romaine améliore ses techniques d'acquisition du renseignement tout en n'hésitant plus à recourir à des stratégies indirectes. L'adaptation aux nouvelles conditions tactiques passe par une coordination plus étroite entre les diverses armes sur le champ de bataille, et, au sein de celles-ci, entre les différentes spécialités ; elle implique aussi un renouvellement de la disposition en ligne de l'infanterie, inspirée de la phalange hellénistique et nécessitant la multiplication des charges tactique; elle induit enfin une réévaluation de la place tenue par la cavalerie et l'archerie sur les théâtres d'affrontement. In fine, le maintien d'une capacité élevée à manœuvrer témoigne des qualités préservées du commandement, et montre qu'il est difficile de trouver une explication militaire à la disparition de l'Empire romain en OccidentThe study deals with the transformations of the Romano-Byzantine army, for the period which covers the 3rd till the 5th c. In the western part of the Roman Empire and until the 6th c. For its oriental part. These are examined through the prism of the pitched battle, itself analyzed through the various scales of its progress, from its circumstances up to its outcomes, and also ,through the hierarchy and the dispositions of the troops, their evolutions and their way of fighting. From the 3rd c. On, the pressure exercised by the foreign peoples upset the strategic choices of the Empire, whereas the transformations of the armament and of the internal organization of the units seem strictly connected to the tactical renewals then noticed. Confronted with strengthened but diffuse military threats, the Roman army improves its techniques of acquisition of information, and doesn't hesitate any more to resort to indirect strategies. The adaptation to the new tactical conditions passes by a narrower coordination between the various weapons on the battlefield, and, within these, between the various specialities. It also implies a renewal of the arrangement in lines of the infantry, modelled on the Hellenistic phalanx, and requiring the increase in number of the tactical ranks. It leads finally to a revaluation of the place heId by the cavalry and the bowmen on the battlefield. In fine, the preservation of a strong capacity to manoeuvre shows the qualities of the commanders, and shows also the difficulty to find a military explanation for the fall of the Western Roman Empire
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Tóthné, Kriza Ágnes Rebeka. "Depicting orthodoxy : the Novgorod Sophia icon reconsidered." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/275821.
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The Novgorod icon of Divine Wisdom is a great innovation of fifteenth-century Russian art. It represents the winged female Sophia flanked by the Theotokos and John the Baptist. Although the icon has a contemporaneous commentary and it exercised a profound influence on Russian cultural history (inspiring, among others, the sophiological theory of the turn of the twentieth century), its meaning, together with the dating and localisation of the first appearance of the iconography, has remained a great art-historical conundrum. This thesis sheds new light on this icon and explores the message, roots, function and historical context of the first, most emblematic and most enigmatic Russian allegorical iconography. In contrast to its recent interpretations as a Trinitarian image with Christ-Angel, it argues that the winged Sophia is the personification of the Orthodox Church. The Novgorod Wisdom icon represents the Church of Hagia Sophia, that is Orthodoxy, as it was perceived in fifteenth-century Rus’: the icon together with its commentary was a visual-textual response to the Florentine Union between the Catholic and Orthodox Churches, signed in 1439 but rejected by the Russians in 1441. The thesis is based on detailed interdisciplinary research, utilising simultaneously the methodologies of philology, art history, theology and history. The combined analysis reveals that the great innovation of the Novgorod Sophia icon is that it amalgamates ecclesiological and sophiological iconographies in new ways. Hence the dissertation is also an innovative attempt to survey how Orthodoxy was perceived and visualized in medieval Rus’. It identifies the theological questions that constituted the basis of Russian Orthodox identity in the Middle Ages and reveals the significance of the polemics between the Catholic and Orthodox Churches for the history of Medieval Russian art.
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Lazaris, Stavros. "Art et science au moyen age : l'illustration des manuscrits grecs hippiatriques. etude iconographique et analyse des rapports texte-image." Université Marc Bloch (Strasbourg) (1971-2008), 1997. http://www.theses.fr/1997STR20017.
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Le present travail se fonde sur un traite grec inedit relatif aux maladies de chevaux et sur son illustration. Il s'agit d'un abrege de la collection hippiatrique grecque connu sous le nom d'epitome et conserve, entre autres, dans deux manuscrits illustres du xive siecle. En choisissant de travailler sur un sujet, qui, de par sa nature-meme, embrasse deux domaines differents (la philologie, limitee a son seul aspect d'histoire des textes, et l'histoire de l'art) l'auteur s'est fixe plusieurs objectifs. Parmi les plus importants, le premier consiste a dresser un bilan de la medecine hippiatrique grecque au moyen age et le second, a etudier l'illustration scientifique et les rapports qu'elle entretient avec le mot ecrit. Les auteurs hippiatres grecs de l'antiquite tardive et du haut moyen age ont ainsi ete etudies les uns apres les autres. Des modifications, d'apres des elements nouveaux, ont pu etre apportees quant a la chronologie de certains de ces auteurs. Leur production scientifique et leur posterite dans l'empire byzantin ainsi que leur influence, directe et indirecte, sur les auteurs occidentaux et arabes ont fait l'objet d'une etude detaillee. Enfin, outre une description codicologique des deux manuscrits grecs illustres, un inventaire, qui s'est voulu exhaustif, de manuscrits hippiatriques byzantins, occidentaux et arabes, incluant de nouveaux temoins, a ete dresse. Un "code descriptif" elabore par l'auteur a ete utilise pour la description de toutes les miniatures de chaque manuscrit. Celles-ci ont ensuite ete analysees, successivement, dans leurs rapports avec le texte qu'elles illustrent. Et l'etude iconographique qui leur est consacree prend en compte, non seulement l'illustration hippiatrique de manuscrits occidentaux, mais egalement des oeuvres artistiques aussi variees que les mosaiques, les fresques ou encore les miniatures allant de l'antiquite jusqu'au moyen age. Enfin, le role de ces illustrations pour les utilisateurs du texte, leur fonction et leur place au sein de la societe byzantine font l'objet d'un dernier chapitre.
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Rochard, Héléna. "Les peintures murales des "chapelles" de Baouît (VIe-IXe siècles) : images d’une communauté monastique en Égypte byzantine et arabe." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP012.
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Les peintures murales de Baouît ont suscité dès leur découverte l’intérêt des historiens de l’art et en particulier des spécialistes de l’Orient chrétien. Devenues un corpus emblématique de l’art copte, à la charnière de l’Antiquité tardive et du haut Moyen Âge, elles représentent une manne iconographique d’autant plus exceptionnelle que les décors de cette période sont rares autour du bassin méditerranéen. Tout en se faisant l’écho des édifices protobyzantins en grande partie disparus, elles rendent compte d’une communauté monastique florissante au début de l’époque arabe. Elles constituent également une source précieuse, complémentaire des textes, sur la vie spirituelle des moines d’Égypte. La présente étude est le fruit d’une synthèse opérée entre la relecture de la documentation ancienne et les données apportées par les investigations récentes. La reprise des travaux archéologiques sur le site invitait à reconsidérer l’ensemble du matériel pictural mis au jour au début du XXe siècle, en vue notamment de préciser, à la lumière des programmes iconographiques et des nouvelles découvertes, la fonction et la datation desdites chapelles. Enfin, elle apporte un éclairage unique sur les peintres qui ont œuvré à Baouît et qui ont transmis, par l’intermédiaire de leur travail pictural, une image de leur communauté et une part de la spiritualité égyptienneSince their discovery, the wall paintings from Bawit aroused art historians’ interest, especially among scholars of the Christian East. They are an emblematic corpus of Coptic art, in the transition period between the Late Antiquity and the early Middle Ages. Their significance is even more exceptional, considering the fact that they are very few around the Mediterranean basin. While echoing the largely extinct early byzantine buildings, they reflect a flourishing monastic community at the beginning of the Arab era. They are also a valuable source of information, complementary to the texts, about the spiritual life of the Egyptian monks. This study is the result of a synthesis between the proofreading of the archives and the data provided by the recent investigations. The new start of excavations on the site invited us to reconsider all the pictorial material discovered at the beginning of the 20th century, in order to clarify the function and the date of the said “chapels”, in the light of the iconographic programs and new discoveries. Finally, it gives a unique insight of the painters who have worked at Bawit and who have transmitted, through their pictorial work, an image of their community and a part of the Egyptian spirituality
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Andronikou, Anthi A. "Italy and Cyprus : cross-currents in visual culture (thirteenth and fourteenth centuries)." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7861.
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This thesis sets out to probe the complex artistic contacts between Italy and Cyprus in the visual arts during the High and Late Middle Ages. The Introduction provides a critical review of the subject. Chapter I maps out the various types of links (with respect to trade, religion, warfare, art, culture) between Italy and Cyprus in the thirteenth and fourteenth centuries. Chapters II and III examine the multifaceted artistic negotiations between southern Italy (mainly Apulia) and Cyprus in the thirteenth century, by closely examining a cluster of frescoes and panel paintings. Through a set of historical, cultural and artistic (stylistic and iconographic) approaches, these chapters aim to supersede the somewhat limited style-oriented analyses of previous contributions to this area of study. The hitherto unverified and convoluted relations between the two regions are revisited and affirmed within a new conceptual framework. Chapters IV and V investigate fourteenth-century cross-currents as seen in two cases that have formerly occupied a marginal position in discussions of intercultural exchanges between Italy and Cyprus. The first is the transplantation and manifestation of the cult of Saint Thomas Aquinas in Cyprus, and the second, the hybrid series of icons created by Italian painters working on the island. Both cases are appraised as a record of historical realities and not as the by-products of casual encounters. The thesis historicises these contacts and in doing so, contributes to a broader understanding of cultural transmission and convergence in the Medieval Mediterranean.
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Sinclair, Susan. "The relationship between art and liturgy on the periphery of the Byzantine Empire : the cases of 10th century Cappadocia and Langobardia (Apulia)." Thesis, Courtauld Institute of Art (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406731.
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Nassif, Charbel. "L'œuvre du peintre alépin Youssef Al-Musawwer. Contribution à l'essor de la peinture religieuse melkite au XVIIe siècle." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040051.
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Le prêtre Youssef Al-Musawwer est un peintre melkite alépin du XVIIe siècle qui aurait été initié à la peinture postbyzantine à l’étranger dans une région grecque qui demeure difficile à identifier. Il est le chef d’une descendance de peintres qui s’est poursuivie sans discontinuité jusqu’à la fin du XVIIIe siècle. Son œuvre s’inscrit dans le cadre de la renaissance littéraire du patriarcat melkite d’Antioche. Il était à la fois traducteur, copiste, miniaturiste et peintre d’icônes. Nous comptons dix-sept icônes et cinq manuscrits enluminés de Youssef Al-Musawwer. Notre étude a démontré l’attachement de Youssef Al-Musawwer aux œuvres crétoises conservatrices qui remontent aux XVe-XVIe siècles et qui s’éloignent des influences de la Renaissance italienne. Il s'est également inspiré des modèles iconographiques du Nord de la Grèce, de la peinture arménienne et ottomane ainsi que des ouvrages imprimés occidentaux. Youssef Al-Musawwer eut recours à l’hagiographie et à la liturgie pour créer de nouvelles compositions iconographiques. Il n’était pas par conséquent un peintre imitateur et passif. Ses compositions iconographiques, ses connaissances linguistiques ainsi que ses vastes compétences théologiques et liturgiques font de lui un éminent humaniste du XVIIe siècle qui a marqué l’Église melkiteYusuf Al-Musawwer is a Melkite painter and priest from the 17th century. He might have been initiated to Postbyzantine painting abroad in a Greek region that remains difficult to identify. He is the first of a family of painters who continued his path without discontinuity until the end of the 18th century. His work is part of the literary revival of the Melkite patriarchate of Antioch. He was a translator, a copyist, a miniaturist and a painter of icons. Seventeen icons and five illuminated manuscripts realized by Yusuf Al-Musawwer have survived. Our study has demonstrated Yusuf Al-Musawwer's attachment to Cretan conservative works dating back to the 15th-16th centuries and which moved away from the influences of the Italian Renaissance. He was also inspired by the iconographic models of Northern Greece, Armenian and Ottoman painting, as well as Western printed books. Yusuf Al-Musawwer was inspired by hagiography and liturgy to create new iconographic compositions. Therefore, he was not an imitative, passive painter. His iconographic compositions, his linguistic knowledge, and his vast theological and liturgical skills made him an eminent 17th century humanist who marked the Melkite Church
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Chassoura, Olympia. "Les peintures murales des églises de Longanikos (Laconie) et les tendances de la peinture byzantine de la deuxième moitié du XIVe siècle dans le sud du Péloponèse." Paris 1, 1991. http://www.theses.fr/1991PA010621.
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Longanikos, dans le sud du Péloponnèse, près de Mistra, était, à l'époque du despotat de la Morée, un site très important, d'une sorte d'autonomie féodale, politique et militaire. Ceci ressort, non seulement des maigres éléments historiques à notre disposition, mais surtout de l'existence de trois églises décorées de fresques de haute qualité: l'église de Saint - Georges, des saints - apôtres et de la dormition de la vierge. L'étude en parallèle des peintures des trois églises précédentes, nous a permis de suivre la production picturale dans une petite région et pour une durée d'un demi-siècle - de la fin du quatorzième au début du quinzième siècle - et d'établir le rôle de certains ateliers mistriotes sur la production artistique régionale. Plus précisément, les fresques des églises de Longanikos dépendent des ateliers de peintre actifs dans certaines églises et chapelles de MistraLonganikos, in the south Peloponnese, near Mistra, was, at the time of the despotate of the Morea, a village of some importance which held a kind of feudal autonomy, political and military. This is obvious, not only from some meagre historical evidence, but chiefly, from the existence of three churches decorated with frescoes of high quality: the church of Saint George, of the holy apostles and of the dormition of the virgin. Parallel study of the entire mural decoration of all three churches allowed us to pursue the painting production within the confines of a single village and for a specific period of about fifty years from the end of the fourteenth to the mid of the fifteenth centuryand to establish the role of certain ateliers of mistra in regional aristic production. The Longanikos' wallpaintings, in particular, depend, to a great degree, on ateliers active in certain churches and chapels of the capital of the despotate, Mistra
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Kellaris, Georgios. "The iconography of sanctuary doors from Patmos and its place in the iconographic program of the Byzantine iconostasis." Thesis, McGill University, 1991. http://books.google.com/books?id=4OjVAAAAMAAJ.
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Thesis (M.A.)--McGill University, 1991.Contains an English abstract and a French résumé. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 83-87).
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Penkrat, Tatiana. "Image and liturgy the history and meaning of the Epitaphion /." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p015-0478.
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