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Journal articles on the topic 'Byzantine Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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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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Gkegkes, Ioannis D., Vassiliki M. Darla, and Christos Iavazzo. "Breastfeeding in Byzantine icon art." Archives of Gynecology and Obstetrics 286, no. 1 (February 25, 2012): 71–73. http://dx.doi.org/10.1007/s00404-012-2252-3.

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Garnczarska, Magdalena. "Some Remarks on the Significance of Gold Based on Byzantine Ekphraseis of Works of Art." Studia Ceranea 10 (December 23, 2020): 83–121. http://dx.doi.org/10.18778/2084-140x.10.05.

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The abundance of gilding is considered to be a particularly characteristic feature of Byzantine art. This attribute can be confirmed by even a cursory analysis of works of art. In short, Byzantine artists used gold on a large scale, showing great technical skill. It is therefore quite surprising that this issue has not yet received a separate, comprehensive study. Admittedly, researchers recognize the presence of gold but unfortunately, they almost do not go beyond general observations. On the one hand, they emphasize the primary role of the symbolic meanings of gold, and, on the other, they indicate the high material value of this precious metal. These comments are usually very general and their authors rarely refer to specific primary sources. Their observations, however, speak more about present-day ideas about Byzantine culture than about it itself. The indicated problem is an important and extensive task to be done, hence this paper is only an outline of the most important questions, each of which requires a separate and in-depth study. Therefore, this synthetic article introduces the most basic points associated with the understanding of gold in Byzantium. For this purpose, selected examples of Byzantine texts in which their authors referred to gold in a strictly artistic context are analysed. Thus, the main thesis is as follows: in Byzantine painting, gold, one of the most important devices of artistic expression, was used on a large scale primarily for aesthetic reasons.

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ÖZRİLİ, Yaşar. "THE CROSS IN BYZANTINE ART: ICONOGRAPHY SYMBOLISM AND MEANING." KutBilim Sosyal Bilimler ve Sanat Dergisi 3, no. 2 (December 28, 2023): 116–30. http://dx.doi.org/10.58642/kutbilim.1384706.

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Byzantine art is an artistic tradition that developed during the Middle Ages when the Eastern Roman Empire was dominant. The cross is a very important symbol in Byzantine art and has a deep meaning in terms of both iconography and symbolism. This study aims to analyse the iconographic and symbolic expressive power of the cross in Byzantine art. Iconographic representations of the cross in Byzantine art characterise the crucifixion of Jesus Christ and his suffering. In iconography, there are various forms, depictions of the cross. These include various types such as the Latin cross, the Greek cross, the cross of Christ's crucifixion. Each type of cross carries different meanings and also symbolises different scriptures and figures. It also characterises concepts such as martyrdom, sacrifice, resistance and victory. The cross was used in icon, frescoes, mosaics and other works of art. For example, in Jesus iconography, the cross can be seen in Jesus' hand or on his throne. This article, which is structured with the method of literature review and document analysis, aims to illuminate the iconographic and symbolic meanings of the cross in Byzantine art. The cross is one of the sacred symbols of the Christian faith in Byzantine art.

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Voutounos, Chrysanthos, and Andreas Lanitis. "A Cultural Semiotic Aesthetic Approach for a Virtual Heritage Project." Techné: Research in Philosophy and Technology 20, no. 3 (2016): 198–215. http://dx.doi.org/10.5840/techne201653147.

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This paper presents an integrated framework applied towards the design and evaluation of a virtual museum of Byzantine art that combines the theorized fields of semiotics, virtual heritage (VH), and Byzantine art. A devised semiotic model, the case study semiosphere, synthesizes important principles from the theoretical background justifying the overall design and evaluation methodology. The approach presented has theoretical extensions to the understanding of the role technology plays in promoting a consummatory aesthetic experience for Byzantine art in virtual environments, complementing the experience received from traditional Byzantine art media. Part A of the work presents the development of the semiotic foundation of the study prior to presenting the applied potential of the approach in design and evaluation of VH for Byzantine art, which appears in Part B. The final task of the proposed approach aims to support a meaningful interpretation, assisting in the promotion of the significance (value) of the virtual museum to potential interpreters/visitors.

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Barber, Charles. "From Image into Art: Art after Byzantine Iconoclasm." Gesta 34, no. 1 (January 1995): 5–10. http://dx.doi.org/10.2307/767119.

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Simakina, Polina V. "ART AND HISTORY OF BYZANTIUM IN THE WORK OF ARTIST-JEWELLER EDUARD NIKITIN." Scientific and analytical journal Burganov House. The space of culture 19, no. 2 (April 10, 2023): 70–79. http://dx.doi.org/10.36340/2071-6818-2023-19-2-70-79.

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The article is devoted to the work of Moscow artist Eduard Nikitin in the context of Byzantine decorative and applied heritage. Eduard Nikitin was born in Chelyabinsk and was educated as a sculptor. He worked as the chief artist at a factory for the production of art products in Chelyabinsk; afterwards, he became an independent jewellery artist. In modern author’s jewellery, the artist-jeweller rethinks the history of Byzantium, creates jewellery in the Art Deco style, basing on the impressions of Byzantine art. The author has always been attracted by the combination of the East and the West, common features and differences that can be expressed in jewellery plastic art. Eduard Nikitin had lived for two years in Finland and worked for Archbishop Johannes. He created a landmark work, The Fall of Constantinople, which is a rethinking of the fall of a great empire. It is worth paying attention to the set of a brooch and earrings, Evening in Byzantium, where the golden parts represent Hagia Sophia and the central blue topaz - the Bosphorus, as a connection between Europe and Asia. The combination of artistic images of monuments presents the organic syncretism of the entire outlined Asiatic region art. This region’s art was born in the regularity of society’s life and its spiritual culture on the basis of reality. The article compares samples of Byzantine art from museum collections with the works of Eduard Nikitin; the author’s views on his own jewellery work are given. In striving for the possible accuracy in the attribution of a work of art, one should not be confined to the era of its creation. Its content and form are often rooted in the distant past. As a result of a long and complex development, a “layered” semantic and artistic structure of the work appears. The fullness of this or that plot is revealed only in the “long time”, during which it is enriched with new meanings. Owing to the author’s interview, there is a synthesis of an artist and a researcher, which is valuable for the analysis of contemporary works. The features of Byzantine art are considered in the context of influence on contemporary artists; the features of the technology for creating jewellery as well as to what extent they are borrowed in modern times and replaced by new technologies are analysed. The main purpose of the article is to show the diversity of Russian contemporary art using the example of one artist.

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Altripp, Michael. "The reception of the old testament passages interpreted according to the trinitarian dogma in Byzantine аrt." Zbornik radova Vizantoloskog instituta, no. 59 (2022): 251–65. http://dx.doi.org/10.2298/zrvi2259251a.

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The trinitarian dogma is not mentioned in the Biblical text expressis verbis, but there are several passages which were interpreted, especially by the Church Fathers, as hints to the triune God. Most of them are to be found in the Old Testament and were illustrated in Early Christian and Byzantine art. Judging by these monuments, there is a difference between the Byzantine and the Western iconography. Whereas the artists in the West obviously had no qualms about depicting God as three persons, the Byzantines found other solutions to avoid the portrayal of God the Father, while showing that the God of the Old Testament is the Triune God of the Christians.

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Ertuğrul, Muzaffer. "The Identity of Khidr, the Companion of the Prophet Moses." Journal of The Near East University Faculty of Theology 7, no. 2 (December 17, 2021): 293–332. http://dx.doi.org/10.32955/neu.ilaf.2021.7.2.02.

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In this study, the Byzantine image in the religious and literary texts produced by Muslim societies in the first four centuries of the Hijra has been examined in terms of historical process. To this end, first, a theoretical basis has been established within the framework of the concepts of identity, difference, other, and othering. Then, the imagery of Byzantium is analyzed through the interpretation of the first five verses of the Surah Rûm, with regards to naming, politics, religion, culture, science, philosophy, art and women's descriptions. The main argument of the study is that the Byzantine image of Muslims cannot be addressed independent of the relationships established with Byzantium. From a historical point of view, it is seen that the image of Byzantium, which was initially positive, turned into negative depending on the course of relations and was balanced over time in terms of change, while the style and content of political and political imagery varied, there is very little variation in descriptions of social life with regards to Constantinople, Byzantine craftsmanship, family life and women. While the Qur'an and the Sunnah culture formed the basis of the Byzantine perception in the early days, political developments became dominant over time. On the other hand, Muslims did not deal with Byzantium in a monolithic, shallow and reductive way, but they used the distinction between “us” and “them” to improve the image of Islam and reinforce Muslim identity.

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Özel, Cemal. "Islam and the Other: A Study on the Image of The Other in Early Muslim Societies." Journal of The Near East University Faculty of Theology 7, no. 2 (December 17, 2021): 239–92. http://dx.doi.org/10.32955/neu.ilaf.2021.7.2.01.

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In this study, the Byzantine image in the religious and literary texts produced by Muslim societies in the first four centuries of the Hijra has been examined in terms of historical process. To this end, first, a theoretical basis has been established within the framework of the concepts of identity, difference, other, and othering. Then, the imagery of Byzantium is analyzed through the interpretation of the first five verses of the Surah Rûm, with regards to naming, politics, religion, culture, science, philosophy, art and women's descriptions. The main argument of the study is that the Byzantine image of Muslims cannot be addressed independent of the relationships established with Byzantium. From a historical point of view, it is seen that the image of Byzantium, which was initially positive, turned into negative depending on the course of relations and was balanced over time in terms of change, while the style and content of political and political imagery varied, there is very little variation in descriptions of social life with regards to Constantinople, Byzantine craftsmanship, family life and women. While the Qur'an and the Sunnah culture formed the basis of the Byzantine perception in the early days, political developments became dominant over time. On the other hand, Muslims did not deal with Byzantium in a monolithic, shallow and reductive way, but they used the distinction between “us” and “them” to improve the image of Islam and reinforce Muslim identity.

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Smorąg Różycka, Małgorzata. "Miejsce ekfrazy w bizantynistycznej historiografii artystycznej." Vox Patrum 70 (December 12, 2018): 471–84. http://dx.doi.org/10.31743/vp.3217.

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In Byzantium, writing ekphrases was one of the standard literary skills, developed during school instruction. Yet, in Byzantine art history, the analysis of Byzantine ekphrases had long been beyond the scope of researchers who favoured rather the iconographic and formal comparative methods. It was not until the discovery of the role of rhetoric in the shaping of pictorial formulae and iconographic programmes of paintings, by H. Maguire, that the importance of ekphrases was fully recognised – especially as far as interpretation of the contents of art works and the understanding of mechanisms governing the development of iconographic and compositional programmes that ‘defied’ the canon were concerned. The examples of ‘reversed’ compositional schemes in the Christ’s Entry into Jerusalem scene in the Church of the Virgin at Daphni or the Holy Myrrhbearers at the Sepulchre in the Mileševa Monastery, discussed in the present paper, considered within a broad context of architectural space and the liturgy, have demonstrated that the Byzantine artist was able to freely shape his pictorial formulae while looking for new ways of visualising dogmatic content, especially in the period after the Iconoclastic Controversy (726-843). An example of Michael Psellos’ ekphrasis of an image of the Crucifixion further proves that also Byzantine writers were faced with a similar problem of finding adequate forms for expressing dogmatic content in keeping with the literary canon. In his description of the image, Psellos not only identified its particular elements (schemata) but also referred to the experience and knowledge of the recipient who was supposed to be able to discern in the picture also the reality that could not be represented using artistic means. Thus, the above affinity between the artistic and literary stances seems to release the researchers of Byzantine art from strict adherence to stereotypical interpretations in keeping with the methodological canon.

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James, Liz. "Light and Colour in Byzantine Art." Journal of Aesthetics and Art Criticism 57, no. 4 (1999): 487. http://dx.doi.org/10.2307/432168.

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Vicelja-Matijašić, Marina. "Glimpses into Byzantine Philosophy and Art." IKON 15 (January 2022): 293–95. http://dx.doi.org/10.1484/j.ikon.5.132373.

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halim, sarah, and Mofida El Weshahy. "Boats Representation in the Byzantine Art." Journal of Association of Arab Universities for Tourism and Hospitality 20, no. 4 (June 1, 2021): 124–58. http://dx.doi.org/10.21608/jaauth.2021.86610.1209.

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Brubaker, Leslie. "Byzantine art and architecture, an introduction." Byzantine and Modern Greek Studies 20, no. 1 (January 1996): 292–95. http://dx.doi.org/10.1179/byz.1996.20.1.292.

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Łaptaś, Magdalena. "Byzantine influence on Nubian painting: the loroi and the gender of the Archangels." Byzantinische Zeitschrift 114, no. 1 (February 1, 2021): 239–54. http://dx.doi.org/10.1515/bz-2021-9011.

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Abstract The conversion of the Nubian Kingdoms, by the missions sent from Constantinople in the sixth century, was followed by Byzantine influence on Nubian art. One of the most obvious examples of this process was representing archangels dressed in loroi. This paper aims to present the evolution of loroi in Nubian art. In Byzantium, they were ceremonial stoles worn on special occasions by the emperors or the highest dignitaries. The archangels were also clad in loroi, acting as high officials at the celestial court. Interestingly, loroi were adopted only for the images of archangels in Nubia, not for the images of Nubian kings. At the end of the 10th century, the lower end of the loroi was expanded to a broader segment resembling the Byzantine thorakion, typical of female images. This could have added splendor to their garments, but could it have also highlighted the vague gender of the archangels?

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Tuerk-Stonberg, Jacquelyn. "Magical Amulets, Magical Thinking, and Semiotics in Early Byzantium." Old World: Journal of Ancient Africa and Eurasia 1, no. 1 (September 13, 2021): 1–23. http://dx.doi.org/10.1163/26670755-01010004.

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Abstract The term ‘magic’ is problematic. Magic studies have rapidly developed in recent decades and have suggested various ways of understanding the term, especially regarding objects from the medieval Roman Empire, Byzantium. Two early Byzantine amulets (as case studies) display conventional semiotic structures, which include persuasive analogy, speech-acts, and show-acts. Persuasive analogy, speech-acts, and show-acts – and how they organize information – operate also in religious, medical, and philosophical examples. Accordingly, art, archaeology, and texts of ritual power exemplify intersecting communities of thought and various types of social practices. Magic studies is interdisciplinary, and it encourages critique of modern assumptions regarding authority and of our intellectual colonization of times past. This essay is broad with several object examples across media, written as a conference presentation. Another approach to these semiotic structures on magical amulets – with examination of fewer objects and wider attention to the historiography of magic studies – will appear in the forthcoming Oxford Handbook on Byzantine Art and Architecture, ed. Ellen Schwartz.

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Lymberopoulou, Angeliki. "Sight and the Byzantine icon." Body and Religion 2, no. 1 (June 14, 2018): 46–67. http://dx.doi.org/10.1558/bar.36484.

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This article addresses the sense of sight through case studies drawn from Byzantine art, the art of Orthodox Christianity. Vision is central to Orthodox worship, facilitated by images known as icons. By enabling the visualization of the invisible divine, the importance of icons is paramount in enhancing the faithful’s religious experience.

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Jevtić, Ivana. "Painted Church Facades in Byzantine and Post-Byzantine Art and Their Aesthetics." Actual Problems of Theory and History of Art 9 (2019): 318–25. http://dx.doi.org/10.18688/aa199-2-28.

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Safran, L. ""BYZANTINE" ART IN POST-BYZANTINE SOUTH ITALY?: Notes on A Fuzzy Concept." Common Knowledge 18, no. 3 (August 23, 2012): 487–504. http://dx.doi.org/10.1215/0961754x-1630415.

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MANTAS, Apostolos G. "The Iconographical Subject ''Christ the Vine'' in Byzantine and Post-byzantine Art." Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας 42 (July 6, 2011): 347. http://dx.doi.org/10.12681/dchae.393.

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Spivey, Nigel. "Art and Archaeology." Greece and Rome 60, no. 1 (March 12, 2013): 176–79. http://dx.doi.org/10.1017/s0017383512000344.

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The front cover of John Bintliff's Complete Archaeology of Greece is interesting. There is the Parthenon: as most of its sculptures have gone, the aspect is post-Elgin. But it stands amid an assortment of post-classical buildings: one can see a small mosque within the cella, a large barrack-like building between the temple and the Erechtheum, and in the foreground an assortment of stone-built houses – so this probably pre-dates Greek independence and certainly pre-dates the nineteenth-century ‘cleansing’ of all Byzantine, Frankish, and Ottoman remains from the Athenian Akropolis (in fact the view, from Dodwell, is dated 1820). For the author, it is a poignant image. He is, overtly (or ‘passionately’ in today's parlance), a philhellene, but his Greece is not chauvinistically selective. He mourns the current neglect of an eighteenth-century Islamic school by the Tower of the Winds; and he gives two of his colour plates over to illustrations of Byzantine and Byzantine-Frankish ceramics. Anyone familiar with Bintliff's Boeotia project will recognize here an ideological commitment to the ‘Annales school’ of history, and a certain (rather wistful) respect for a subsistence economy that unites the inhabitants of Greece across many centuries. ‘Beyond the Akropolis’ was the war-cry of the landscape archaeologists whose investigations of long-term patterns of settlement and land use reclaimed ‘the people without history’ – and who sought to reform our fetish for the obvious glories of the classical past. This book is not so militant: there is due consideration of the meaning of the Parthenon Frieze, of the contents of the shaft graves at Mycenae, and suchlike. Its tone verges on the conversational (an attractive feature of the layout is the recurrent sub-heading ‘A Personal View’); nonetheless, it carries the authority and clarity of a textbook – a considerable achievement.

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Ginting, Alex Cristian Justisia. "Relasi Narasi Visual dan Teks dalam Ikon Transfigurasi Paroki St. Dionysios Yogyakarta." Journal of Contemporary Indonesian Art 7, no. 2 (October 30, 2021): 57–63. http://dx.doi.org/10.24821/jocia.v7i2.6078.

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Seni lukis Byzantine adalah salah satu warisan kesenian dunia yang belum banyak dibahas oleh kalangan akademisi seni di Indonesia. Warisan seni lukis Byzantine sering disamakan dengan Ikonografi, yaitu gambar-gambar suci yang sampai hari ini masih dipertahankan fungsinya dalam gereja-gereja yang menggunakan ritus Byzantine (Gereja Orthodox dan Gereja Katolik Ritus Byzantine). Seni Byzantine dibagi tiga periode, yaitu awal, tengah, dan akhir, dimana pada periode Tengah-Akhir muncul ikon berjenis Menologion. Seni lukis Byzantine dikaji menggunakan Ikon Pesta Transfigurasi yang merupakan digitalisasi dari ikon aslinya yang berasal dari abad ke-16 untuk menjelaskan bentuk visual, struktur dan hubungannya dengan narasi. Kajian menemukan ada kesamaan antara visualisasi narasi ikon dengan struktur pesta Gerejawi yang memiliki tiga pola (Pra Pesta – Pesta – Pasca Pesta/Apodosis).Byzantine painting is one of the world's artistic heritage that art academics have not widely discussed in Indonesia. The legacy of Byzantine painting is often equated with iconography, which is sacred images that still retain their function in churches that use the Byzantine rite (Orthodox Church and Byzantine Rite Catholic Church). Byzantine art had developed in three periods, namely beginning, middle, and end, wherein the Middle-Late period, an icon of the Menologion type appears. The byzantine painting was studied using the Transfiguration Feast Icon, digitizing the original icon dating from the 16th century to explain its visual form, structure, and relationship to narrative. The study found similarities between the visualization of the iconic narrative and the ecclesiastical party structure with three patterns (Pre Pesta – Pesta – Post-Pesta / Apodosis).

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Brubaker, Leslie. "Life imitates art: writings on Byzantine art history, 1991–1992." Byzantine and Modern Greek Studies 17, no. 1 (January 1993): 171–223. http://dx.doi.org/10.1179/byz.1993.17.1.171.

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Vapheiades, Konstantinos M. "Reassessing a Late Byzantine masterpiece: the Deesis mosaic in the Hagia Sophia of Constantinople." Byzantine and Modern Greek Studies 45, no. 2 (July 2, 2021): 166–83. http://dx.doi.org/10.1017/byz.2021.13.

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After the recapture of Constantinople (1261) artistic production in Byzantium experienced a recovery. In the capital of Byzantium itself this period is marked by the mosaic panel of the Deesis in the Hagia Sophia. This work constitutes a ‘one-off’ in Byzantine art. This fact poses a series of questions concerning the dating, the creator and the patron of the mosaic, as well as the reasons for its creation, given that no source makes any reference to these matters. The present study attempts to re-examine these issues.

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Peers, Glenn. "Byzantine Art and Architecture: An Introduction.Lyn Rodley." Speculum 71, no. 2 (April 1996): 484–86. http://dx.doi.org/10.2307/2865473.

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Ene D-Vasilescu, Elena. "Pseudo-Dionysius the Areopagite and Byzantine Art." Journal of Early Christian History 11, no. 2 (May 4, 2021): 50–75. http://dx.doi.org/10.1080/2222582x.2020.1743955.

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Kazhdan, Alexander, and Henry Maguire. "Byzantine Hagiographical Texts as Sources on Art." Dumbarton Oaks Papers 45 (1991): 1. http://dx.doi.org/10.2307/1291688.

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Maguire, Henry. "Style and Ideology in Byzantine Imperial Art." Gesta 28, no. 2 (January 1989): 217–31. http://dx.doi.org/10.2307/767070.

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DREWER, Lois. "Saints and their Families in Byzantine Art." Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας 34 (January 11, 1992): 259. http://dx.doi.org/10.12681/dchae.1073.

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Eastmond, A. "Later Byzantine Painting: Art, Agency, and Appreciation." English Historical Review CXXIII, no. 503 (August 1, 2008): 1013–14. http://dx.doi.org/10.1093/ehr/cen232.

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Kosumi Ismaili, Vlora. "Female Representations in Byzantine Art of Kosova." American Journal of Art and Design 4, no. 4 (2019): 41. http://dx.doi.org/10.11648/j.ajad.20190404.11.

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Gkegkes, Ioannis D., Vassiliki M. Darla, and Christos Iavazzo. "Erratum to: Breastfeeding in Byzantine icon art." Archives of Gynecology and Obstetrics 290, no. 2 (May 15, 2014): 395. http://dx.doi.org/10.1007/s00404-014-3285-6.

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Jenkins, Gary W. ":Byzantine Art and Renaissance Europe." Sixteenth Century Journal 46, no. 4 (December 1, 2015): 1065–67. http://dx.doi.org/10.1086/scj4604114.

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Garnczarska, Magdalena. "The Iconographic Motif of a Griffin and a Hare on the So-called Saracenic-Sicilian Casket from the Wawel Cathedral Treasury in Cracow." Studia Ceranea 5 (December 30, 2015): 59–72. http://dx.doi.org/10.18778/2084-140x.05.04.

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The article examines a kind of community of aesthetic tastes that was connecting Arab and Byzantine courtly culture. This community concerned the secular and luxurious works of art. The silver casket, called a Saracenic-Sicilian, from the Wawel Cathedral Treasury in Cracow will serve as the starting point to gain a true appreciation of the complex artistic relationship between the Byzantine Empire and the Islamic world in the Middle Ages. It appears highly probable that the casket was created in the twelfth century. It was published at once after the discovery (8th March 1881) and since then, researchers argue about the place of origin of the box. Some suggest that the casket could be a product of Arabic or Persian art, while others propose either Byzantine or Sicilian workshops. What is more, even an thorough stylistic and iconographic analysis does not allow for an unambiguous resolution of the problem of provenance of the Wawel box. Lack of a resolution suggests that this piece of art was directed to a member of the cosmopolitan elite of – Arabic or Byzantine – court, which took delight in sophisticated and expensive luxury items. It is worth noting that in this case, matter of religion did not play a crucial role. For this reason, the depicted scenes and decorative details have an universal character. In order to present this specific synthesis of Arabic and Byzantine secular art, the motifs of a griffin and a hare, decorating the casket will be considered.

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Buzykina, Yu N. "Tradition and historical reconstruction in modern Church art on the example of the “Apocalypse” by Nikolai Masteropulo (from the point of view of the Medievalist)." Russian Journal of Church History 2, no. 3 (November 9, 2021): 75–89. http://dx.doi.org/10.15829/2686-973x-2021-67.

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The article deals with Apocalypse cycle of cloisonné enamels created in the early 2000-s by Russian and Greek artist Nilolaos Masteropoulos. The article analyses the concept of this creation, conceived as an actual art work made by medieval tool — ancient technique of cloisonné enamel, reconstructed and reconceived by the artist. The choice of the old technique which disappeared in byzantine tradition in 13th century is united with the subject which was not typical for byzantine art at all and appeared only in the early 15th century in the wall painting of Annunciation Cathedral of Moscow Kremlin, ordered by Russian prince and painted by Byzantine artist Theophanes the Greek. This union, demonstrating the artist’s deep knowledge in the art history and scientific literature, does not turn this Apocalypse into intellectual rebus or kind of historical reconstruction. Reviving ancient techniques and using ancient symbols, Nikolaos Masteropulos created an actual art work, intended for beholding by his contemporaries.

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Vryzidis, Nikolaos. "The “Arabic” Stole of Vatopediou Monastery: Traces of Islamic Material Culture in Late Byzantium." Muqarnas Online 36, no. 1 (October 2, 2019): 85–99. http://dx.doi.org/10.1163/22118993-00361p05.

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Abstract In the collection of Vatopediou Monastery (Mount Athos) there is a Late Byzantine vestment called by the monks the “Arabic stole” (arabikon ōmophorion). This quite unique vestment probably owes its name to two bands of embroidered Arabic inscriptions on the lower part of each end. It is one of the very few known Byzantine religious objects to feature legible Arabic inscriptions, a visible symbol of Islamic otherness juxtaposed with the standard Christian iconography. Apart from bringing into the spotlight a medieval vestment that has been overlooked by scholars, this article traces possible sources of artistic transfer through a discussion of texts and extant objects. Finally, it aims at expanding our understanding of the reception of Islamic art in Late Byzantium, a time of both political decline and cultural renewal.

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Kopta, Joseph R. "The Affective Byzantine Book: Reflections on Aesthetics of Gospel Lectionaries." Arts 13, no. 3 (May 22, 2024): 92. http://dx.doi.org/10.3390/arts13030092.

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The aesthetic qualities of Byzantine Gospel Lectionaries in Middle Byzantine times, afforded by their material construction, fostered an intermedial relationship with the architectural interiors of the churches and chapels where they were used in sacred liturgies. In particular, Byzantine book makers employed discreet reflective materials—particularly albumen and gold—that engendered an aesthetic of liquidity. If we center materiality and aesthetic considerations of the Byzantine Gospel Lectionary, building upon art history’s so-called “material turn”, we can come closer to understanding something of the poetry of the Byzantine manuscript as part of an affective experience—one that was shiny, shimmering, and fluid.

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Cazabonne, Emma, and Sarah T. Brooks. "Byzantium: Faith and Power (1261-1557): Perspectives on Late Byzantine Art and Culture." Sixteenth Century Journal 39, no. 3 (October 1, 2008): 929. http://dx.doi.org/10.2307/20479120.

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Garland, Lynda. "Byzantium: Treasures of Byzantine Art and Culture from British Collections (review)." Parergon 14, no. 2 (1997): 151–53. http://dx.doi.org/10.1353/pgn.1997.0005.

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Peers, Glenn. "Real Living Painting: Quasi-Objects and Dividuation in the Byzantine World." Religion and the Arts 16, no. 5 (2012): 433–60. http://dx.doi.org/10.1163/15685292-12341234.

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AbstractThis article examines an issue that has troubled Byzantine art historians: what Byzantines meant by “living painting.” It attempts to simplify the problem by accepting the sources at face value (painting was indeed alive) and to complicate our understanding of painting (painting occupied a subject-position just as fully as humans did). It uses the notion of ‘dividuals,’ which are opposed to discrete entities like individuals, and of ‘quasi-object,’ so that painting, metal work, stones, and people all appeared in some fashion as objects, but only superficially so. The cases used to establish this position include: Michael Psellos on paintings of Christ; Eucharistic chalices, divine geology and bloods of Christ; and the miraculous stories of interchanging identities among icons and persons. In this way, this article argues for an understanding of Byzantine materiality as relational; it assumed a participatory aspect among all things and persons in that world.

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