Log in

Relevant bibliographies by topics / Byzantine Icon painting

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers

Academic literature on the topic 'Byzantine Icon painting'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Byzantine Icon painting.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Byzantine Icon painting"

1

Олена, Рудич. "ЦЕРКОВНІ РОЗПИСИ ВИПУСКНИКІВ ЛЬВІВСЬКОЇ НАЦІОНАЛЬНОЇ АКАДЕМІЇ МИСТЕЦТВ". ВІСНИК Львівської національної академії мистецтв, № 27 (18 листопада 2015): 191–201. https://doi.org/10.5281/zenodo.33957.

Full text

Abstract:

The article examines the influence of sacred art department on the development of modern iconography Ukraine. For twenty years the department has produced many talented painters such as D. Horditsa, D. Movchan, S. Bishop, A. Cherednichenko engaged easel and monumental sacred painting, creating their own farm, are modern Ukrainian iconography at various exhibitions. Stylistic comparisons paintings and leading workshops search common featuresmodern Lviv school of icon painting found that painters organically combine the tradition of Byzantine iconography of folk crafts and Ukrainian modernism, r

APA, Harvard, Vancouver, ISO, and other styles

2

Лесів, Т. В. "ВІЗАНТИЗМ ЯК ПАРАДИГМА САКРАЛЬНОЇ ТВОРЧОСТІ (НА ПРИКЛАДІ ЦЕРКОВНОГО МАЛЯРСТВА ГАЛИЧИНИ XX — ПОЧАТКУ ХХІ СТОЛІТТЯ)". Вісник ХДАДМ, № 4 (3 листопада 2018): 60–68. https://doi.org/10.5281/zenodo.1477429.

Full text

Abstract:

Many iconographers and art historians in Ukraine are convinced that Eastern Christian (Byzantine) iconography is a national artistic tradition since Christianity had been introduced on this territory from Byzantium. It has been widely noted that church art in Ukraine followed the Byzantine tradition until the 18 th century, after which it evolved under the influence of European classicism and academism. The idea of Byzantinism as a return to the tradition’s origins arose at the beginning of 20 th century. Since then many theologians, scholars and artists have tended to emphasize the uniq

APA, Harvard, Vancouver, ISO, and other styles

3

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

Full text

Abstract:

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 digitali

APA, Harvard, Vancouver, ISO, and other styles

4

Khlystun, Yuliia. "Reasons for Changing the Painting Style of Orthodox Churches in Eastern Ukraine at the Turn of the 20th–21st Centuries." NaUKMA Research Papers. History and Theory of Culture 5 (September 6, 2022): 38–46. http://dx.doi.org/10.18523/2617-8907.2022.5.38-46.

Full text

Abstract:

Orthodox churches in the east of Ukraine, built (or restored) during the period of the state independence, are painted either in the style of academic painting or in the Byzantine style. Moreover, the style of academic painting is more typical of temples painted in the 1990s and the early 21st century; and in the last two decades, the customers and icon painters prefer the Byzantine style of painting. Answering the questions related to the reasons for changing the style of painting of Orthodox churches in the east of Ukraine at the turn of the 20th–21st centuries, the author offers her point o

APA, Harvard, Vancouver, ISO, and other styles

5

Mocanu, Alina Viorela. "The Byzantine Icon Hermeneia." Review of Artistic Education 22, no. 1 (2021): 200–205. http://dx.doi.org/10.2478/rae-2021-0025.

Full text

Abstract:

Abstract In the context of the flagrant mistakes that are encountered in ecclesiastical painting and the lack of basic knowledge in this field, this study comes to present how Hermeneia has evolved throughout history. Starting from the Byzantine period, passing through the post-Byzantine period and reaching to the present day, Hermeneia and her predecessors, manuscripts and sketchbooks, aimed to help and maintain a canonical-artistic-ecclesial unity throughout the Orthodox Christian area. Another aspect of the article presents some ways of approaching Hermeneia from various points of view: tec

APA, Harvard, Vancouver, ISO, and other styles

6

Arkhypova, Ye I. "BYZANTINE STONE ICON OF THE VIRGIN HAGIOSORITISSA FROM VSHCHIZH." Archaeology and Early History of Ukraine 35, no. 2 (2020): 361–67. http://dx.doi.org/10.37445/adiu.2020.02.28.

Full text

Abstract:

The fragment of stone icon with the image of Virgin, outstretching her arms in prayer, has been found in 1949 during the excavations of B. A. Rybakov on the site of Vshchizh, the small city of Chernigov principality. After the invasion of Batu Khan in 1238 it was destroyed and depopulated until the 16th century. T. V. Nikolaeva included the icon into the catalog of Rus stone icons as local craftsman’s production of 12th (?) century, exquisitely made and preserved the painting. The icon has been reproduced on the poor-quality black and white photography and for a long time did not attract the a

APA, Harvard, Vancouver, ISO, and other styles

7

Evseeva, Liliya M. "The 13th century icon ‘The Mother of God Eleousa’from a private collection in Moscow." Journal of Visual Theology 6, no. 2 (2024): 400–410. http://dx.doi.org/10.34680/vistheo-2024-6-2-400-410.

Full text

Abstract:

The origin of this ‘Eleousa’ icon is unknown. In 1949, the image was in a private col-lection in Rome. The icon suffered losses. The board was sawed off at the bottom; the back-ground was re-primed; the layers of paint are incompletely preserved. The iconography of the image is Byzantine and the manner of painting complies with Byzantine canons. However, the holy faces and naked body parts are statuesque and impress the viewer with their materiality. A likely provenance is Sicilian, artist’s familiarity with Byzantine tradition being the strong-est evidence. The master was likely influenced by

APA, Harvard, Vancouver, ISO, and other styles

8

Тарасенко, А. А., та Г. В. Акрідіна. "ІКОНОСТАСИ СПАСО-ПРЕОБРАЖЕНСЬКОГО КАФЕДРАЛЬНОГО СОБОРУ ОДЕСИ: ТЕМАТИКА І СТИЛІСТИКА". Art and Design, № 2 (21 вересня 2020): 114–28. http://dx.doi.org/10.30857/2617-0272.2020.2.10.

Full text

Abstract:

The purpose is to study the themes and the stylistics of the upper and lower churches’ iconostases of the Transfiguration Cathedral in Odessa. The comparative method was used in order to study the topic and identify the artistic and stylistic features of Odessa Cathedral iconostases. It allows comparing the objects of study with analogues from the world art. Iconological, iconographic methods and figurative-stylistic analysis were also applied. The iconostases of the Transfiguration Cathedral upper and lower churches in Odessa are organically inscribed in the architectural environment, thanks

APA, Harvard, Vancouver, ISO, and other styles

9

Илья Николаевич, Луковцев. "ЭСТЕТИКА ЖИВОПОДОБИЯ В «ПОСЛАНИИ К СИМОНУ» ИОСИФА ВЛАДИМИРОВА И ЦЕРКОВНАЯ ТРАДИЦИЯ". Культурное наследие России, № 4(31) (11 лютого 2021): 93–105. http://dx.doi.org/10.34685/hi.2020.31.4.012.

Full text

Abstract:

В статье рассмотрен вопрос о ключевых идеях живоподобной иконописной эстетики в трактате XVII века «Послание к Симону» Иосифа Владимирова. К исследованию привлечены сочинения византийских богословов и образцы церковного иконописного искусства, чтобы отследить основные иконописные традиции как в теории, так и на практике, определить отношение к ним русского живоподобия. The article discusses the issue of the key ideas of an icon-painting aesthetics in the 17th century treatise "Epistle to Simon" by Joseph Vladimirov. The study is also based on the works of Byzantine theologians and samples of c

APA, Harvard, Vancouver, ISO, and other styles

10

Chibikova, Inga Yu, and Olga S. Naumova. "Iconography and plot features of the Syzran Old Believer icon." Sphere of culture 4, no. 4 (2023): 73–82. https://doi.org/10.48164/2713-301x_2023_14_73.

Full text

Abstract:

For a long time, Syzran icon painting, accomplished in the traditions of Byzantine and Ancient Russian art, has remained one of the least studied phenomena of Russian art culture of the XVIIIth – XXth centuries. Syzran icons were created by several generations of Old Believers (Pomorian and Fedoseyan Creeds) and were intended for Old Believers’ churches. This article is devoted to the works of the Syzran icon-painting center of the Middle Volga region, their iconographic and plot features.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Byzantine Icon painting"

1

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Kouloumpi, Eleni. "Western-European influences on the post Byzantine icon painting technique of Crete and the islands of Ionion." Thesis, De Montfort University, 2007. http://hdl.handle.net/2086/4347.

Full text

Abstract:

The post-Byzantine Art was not only one of the most important artistic movements of Greece, but it was also a period in which serious and decisive changes took place. The most important change was the change of the materials and techniques; from egg yolk to drying oil and from panel paintings on wood to easel paintings on canvas. A series of a hundred and twenty one panel paintings, representative samples of this period (late 15th century up to the early 19th century) and from the work of the most important artists, who represent this period but who also contributed to the evolution of the lat

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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 th

APA, Harvard, Vancouver, ISO, and other styles

4

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

5

Trias, i. Torres Ramon. "Icona i realitat. El cartró com element essencial a la pintura per capes." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/134800.

Full text

Abstract:

La present tesi és de naturalesa experimental i explica diferents processos pictòrics, dels quals se n'extreu un cos teòric capaç de convertir-se en transmissor de coneixement. Per tant, és una tesi proveïda d'un marcat caràcter pedagògic. La tesi està molt implicada en el projecte artístic propi, tant, que en darrera instància ho ha dirigit vertebrant-ho. En un primer moment la tesi versava sobre com procedir per pintar “a la manera Flamenca”, manera pictòrica que es caracteritza per treballar el color i la llum de manera indirecta i acumulativa. A mesura que el coneixement sobre la tèc

APA, Harvard, Vancouver, ISO, and other styles

6

FÍLOVÁ, Lenka. "Výklad ikony Proměnění od Theofana Řeka." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-317330.

Full text

Abstract:

The thesis interprets the icon Transfiguration by Theofan the Greek. It collects the information needed for the interpretation. The first part is devoted to the meaning of a religious picture - an icon in the context of historical development of Byzantine art and Christian thinking. It presents Theofan the Greek as the author of the icon and the doctrine about the uncreated nature of the Light of Tabor, that emerged in his time and might have influenced his work. The second part is devoted to the nterpretation of the Transfiguration icon. It consist of an explication of the biblical texts whic

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Byzantine Icon painting"

1

Kordis, George. Icon as communion: The ideals and compositional principles of icon painting. Holy Cross Orthodox Press, 2010.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Kyriakidēs, Grēgorēs G. Theia ekphrasis: Technikē tēs Vyzantinēs hagiographias. G.G. Kyriakidēs, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Eurōpaiko Kentro Vyzantinōn kai Metavyzantinōn Mnēmeiōn (Thessalonikē, Greece), Mouseio Vyzantinou Politismou (Thessalonikē, Greece), and Greece Hypourgeio Politismou, eds. Eikones apo tis orthodoxes koinotētes tēs Alvanias: Syllogē Ethnikou Mouseiou Mesaiōnikēs Technēs Korytsas : Thessalonikē 14 martiou-12 Iouniou 2006. Eurōpaiko Kentro Vyzantinōn kai Metavyzantinōn Mnēmeiōn, 2006.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Veerle, Vandamme, and Koninklijk Museum voor Schone Kunsten (Belgium), eds. D'un autre monde: Icônes inconnues et art byzantin. Pandora, Snoeck-Ducaju & zoon, 1997.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Bakolas, Christos N. Hylika stēn technē tēs hagiographias. Ekdoseis Amētos, 1997.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Vserossiĭskiĭ khudozhestvennyĭ nauchno-restavrat︠s︡ionnyĭ t︠s︡entr imeni akademika I.Ė. Grabari︠a︡, ed. Icona volto del mistero. Casa di Matriona, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Georgievski, Milčo. Icon Gallery, Ohrid. Institute for the protection of the monuments of Culture and National Museum, 1999.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Karcheva, Zlatina D. Византийски икони: Praktichesko rŭkovodstvo za izpisvane. IK LIK, 2006.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Drandaki, Anastasia. Origins of El Greco: Icon painting in Venetian Crete. Onassis Foundation, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Maria, Kazanaki-Lappa, ed. Arte bizantina e postbizantina a Venezia: Museo di icone dell'Istituto ellenico di studi bizantini e postbizantini di Venezia. Eurocromlibri, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Byzantine Icon painting"

1

Vassilaki, Maria. "On the Technology of Post-Byzantine Icons." In The Painter Angelos and Icon-Painting in Venetian Crete. Routledge, 2023. http://dx.doi.org/10.4324/9781003417521-19.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Vassilaki, Maria. "From the ‘Anonymous’ Byzantine Artist to the ‘Eponymous’ Cretan Painter of the Fifteenth Century." In The Painter Angelos and Icon-Painting in Venetian Crete. Routledge, 2023. http://dx.doi.org/10.4324/9781003417521-4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Vassilaki, Maria. "An Icon of the Entry into Jerusalem and a Question of Archetypes, Prototypes and Copies in Late and Post-Byzantine Icon-Painting." In The Painter Angelos and Icon-Painting in Venetian Crete. Routledge, 2023. http://dx.doi.org/10.4324/9781003417521-15.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

LYMBEROPOULOU / BIRMINGHAM, ANGELIKI. "THE MADRE DELLA CONSOLAZIONE ICON IN THE BRITISH MUSEUM: POST-BYZANTINE PAINTING, PAINTERS AND SOCIETY ON CRETE." In JAHRBUCH DER ÖSTERREICHISCHEN BYZANTINISTIK. Verlag der Österreichischen Akademie der Wissenschaften, 2003. http://dx.doi.org/10.1553/joeb53s239.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Nelson, Robert S. "The Discourse of Icons, then and Now." In Later Byzantine Painting. Routledge, 2024. http://dx.doi.org/10.4324/9781003554134-11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Burchuladze, Nana. "Icons from Svaneti in the Context of Byzantine Painting." In Medieval Svaneti: Objects, Images, and Bodies in Dialogue with Built and Natural Spaces. Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.convisup-eb.5.136737.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Kriza, Ágnes. "Depicting Orthodoxy in Rus." In Depicting Orthodoxy in the Russian Middle Ages. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198854302.003.0010.

Full text

Abstract:

An outline of the history of mural and icon-painting in Novgorod demonstrates that the pictorial references in icons to church constructions, interiors, and their mural decorations had a long-standing tradition in Novgorod. Over time, these references became more and more explicit, so that they identified the Christian Church recognizably and exclusively with Byzantine Orthodoxy. The first half of the chapter analyses church decoration and the second icon-painting of Novgorod, thus seeking to explore the direct iconographic roots of the Wisdom icon. The chapter discusses the meaning of the pre

APA, Harvard, Vancouver, ISO, and other styles

8

"Byzantine Icon-Painting Around 1400: Constantinople or Crete?" In Byzantine Images and their Afterlives. Routledge, 2016. http://dx.doi.org/10.4324/9781315261034-19.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Kozinchuk, Vitalii. "PRESERVATION OF THE ICONOGRAPHIC CANON AMONG UKRAINIAN DIASPORA." In Art Spiritual Dimensions of Ukrainian Diaspora. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-4.

Full text

Abstract:

Iconography of the Ukrainian diaspora is an important component of Ukrainian (Western Ukrainian) canonical sacred art. Genetically, the iconography of the Ukrainian diaspora is based on the principles of Byzantine iconography, which included the color canon, the compositional canon and the canon of proportions, which performed important functions in Byzantine art. Ukrainian artists of the diaspora, adhering to the Byzantine iconographic canon, believed that it brings to the art information of utilitarian, historical and narrative plan. Scientific intelligence is devoted to these issues. The pu

APA, Harvard, Vancouver, ISO, and other styles

10

Khokhlova, Irina L. "Image of Feats of Repentance in the Ladder and in the Hagiographic Icon of John Climacus." In Hermeneutics of Old Russian Literature. Issue 21. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/horl.1607-6192-2022-21-495-513.

Full text

Abstract:

The article examines image of feats of repentance in the Ladder and in the hagiographic icon of John Climacus. The ascetic composition of the Byzantine Saint John Scholasticus The Ladder of Heaven has a rich history of embodiment in old Russian painting. The original type of iconography, born of the Ladder, are the scenes of monastic exploits in the monastery-dungeon, described in the Word 5 On Repentance. A developed cycle of images of repentance scenes of monastic recluses surrounds mullion of the recognized masterpiece of the last third of the 16th century — the icon Vision of St. John of t

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Byzantine Icon painting"

1

Этингоф, О. Е. "Annunciation of Ustyug and frescos of the church of the Annunciation at Gorodische and of the naos of the St. George cathedral, Yuriev monastery." In Архитектурная археология. Crossref, 2020. http://dx.doi.org/10.25681/iaras.2686-6900.1.282-290.

Full text

Abstract:

Фрагменты фресок из наоса Георгиевского собора Юрьева монастыря обнаруживают параллели со многими памятниками византийского мира, Новгородской земли около второй четверти XII в. Больше всего общего у них с росписями башни того же собора и иконой Устюжское Благовещение , вероятно также происходящей из Юрьева монастыря. При всех различиях и вариациях стиля иживописной техники две части фресок собора иикона могли быть выполнены одной артелью. Князь Всеволод-Гавриил, вероятно, призвал вНовгород артель, включавшую либо столичных греческих мастеров, либо киевских, учившихся у византийцев. Наиболее п

APA, Harvard, Vancouver, ISO, and other styles

2

Mosneagu, Mina Adriana. "Conservation and restoration of some icons from the collection of church objects of Agapia Monastery, Neamţ, Romania." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.08.

Full text

Abstract:

Agapia Monastery – the remarkable Moldavian monastery painted by Nicolae Grigorescu – has a precious heritage of icons, books and documents, liturgical textiles, goldsmithing. Among these, the main place is occupied by the icons painted in the XV-XIX centuries, either in post-Byzantine style, in tempera technique, or in realistic style, in oil technique. Some icons from the XVIII-XIX centuries have been preserved and restored in the Icon Restoration laboratory of the Faculty of Theology in Iaşi. In time, the icons kept in the storage of the Monastery Museum have suffered of degradation caused

APA, Harvard, Vancouver, ISO, and other styles

3

Aleksić, Jana. "UMETNIČKA EPOHA KRALjA MILUTINA U KULTURNOISTORIJSKOJ I ESTETIČKOJ OPTICI MILANA KAŠANINA." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.817a.

Full text

Abstract:

Milan Kašanin (1895–1981) in his integral study of medieval Serbian culture pays significant attention to the works and authors who created in the time of King Stefan Uroš II Milutin Nemanjića (1282–1321). Kašanin’s analysis also includes medieval literary and artistic achievements whose central theme is the King's personality and symbols of rule, as well as the spiritual and socio-histor- ical characteristics of the era the era of this important founder and great artistic patron. The author of the monographs Serbian Literature in the Middle Ages (1975) and Stone Discoveries (1978) seeks to sy

APA, Harvard, Vancouver, ISO, and other styles

4

Gavrilović, Anđela. "CONTRIBUTION TO THE STUDY OF THE SCENE OF BAPTISM OF CHRIST IN SERBIAN MEDIEVAL ART WITH SPECIAL INTEREST IN THE CHURCH OF SAINT NIKITA NEAR SKOPLJE (AROUND 1324; 1484)." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.733g.

Full text

Abstract:

The subject of this paper is the motif of the stone slab (cheirograph) in the scene of Baptism in Serbian medieval monumental painting and on icons on which Christ stands and under which he suppresses serpent-like monsters: its iconography, literary sources and meaning (ill. 5). The article represents the first study of the issue of cheirograph in Baptism scenes in Serbian medieval art from its beginning until the end of the art done in the Byzantine tradition (1800). It provides the survey of the chosen examples of this motif and explains the nuances in the meaning of both the Baptism scene i

APA, Harvard, Vancouver, ISO, and other styles

5

Зашев, Евгени. "За най-ранната топография на култа към св. Седмочисленици. Обособяване на култа". У Кирило-методиевски места на паметта в българската култура. Кирило-Методиевски научен център, 2023. http://dx.doi.org/10.59076/5808.2023.02.

Full text

Abstract:

ON THE EARLIEST TOPOGRAPHY OF THE SEVEN SAINTS CULT (Summary) The current research traces and summarizes the information about the historical persons from the circle of the Seven Saints, paying special attention to the distinction between mention, enumeration and grouping. Various historical evidences are examined as focal memory points of a conjoint cult of the Seven Saints – some of them are literature sources – the Prologue life of St. John Vladimir (1690), the Berat liturgy for Seven Saints (c. 1720) and the Moschopol liturgy for Seven Saints (1742), other sources are artefacts – eight wal

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!