Relevant bibliographies by topics / Byzantine icons

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Byzantine icons'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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Journal articles on the topic "Byzantine icons"

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Stephenson, Paul. "Byzantine Icons and Things." Oxford Art Journal 39, no. 2 (2016): 331–34. http://dx.doi.org/10.1093/oxartj/kcw003.

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Denny, Christopher. "Iconoclasm, Byzantine and Postmodern: Implications for Contemporary Theological Anthropology." Horizons 36, no. 2 (2009): 187–214. http://dx.doi.org/10.1017/s0360966900006356.

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ABSTRACTMedieval Byzantine debates regarding icons included fine distinctions between image, prototype, and symbol as these terms related to personhood. Iconodules and iconoclasts differed regarding the ability of art to represent the person. Must artistic representations of a person, to be justified, be consubstantial with the person represented and thus circumscribed, as iconoclasts believed? Or is it sufficient to refer to artistic representations as being symbolic of their human subjects? Embracing the victorious iconodule distinction between a person and artistic representations of the pe
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Lymberopoulou, Angeliki. "Sight and the Byzantine icon." Body and Religion 2, no. 1 (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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Zaprzalska, Dorota. "Byzantine and Post-Byzantine Composite Icons Reconsidered: Their Past and Present-Day Role and Use." Mediaevalia 45, no. 1 (2024): 176–204. http://dx.doi.org/10.1353/mdi.2024.a940414.

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Abstract: The phenomenon of adding a new, larger panel to an older work, thus creating a work of art consisting of two pieces from different periods, is well known in Western European art and is often referred to by the German term Einsatzbild. A similar type of reuse by insertion can be observed in Byzantine and post-Byzantine art, although it has received far less scholarly attention. Panayotis L. Vocotopoulos was the first to note its occurrence in icon painting and to propose a classification, calling such panels "composite icons" (σύνθετες εικόνες). Since then, these works have been spora
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D-Vasilescu, Dr Elena Ene. "Byzantine Icons Wrought in Metal." International Journal of History and Cultural Studies 8, no. 1 (2022): 1–4. http://dx.doi.org/10.20431/2454-7654.0801001.

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Tzouveli, Paraskevi, Nikos Simou, Giorgios Stamou, and Stefanos Kollias. "Semantic Classification of Byzantine Icons." IEEE Intelligent Systems 24, no. 2 (2009): 35–43. http://dx.doi.org/10.1109/mis.2009.34.

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Freeman, Evan. "Multimodal Icons in Byzantine Ritual." Gesta 64, no. 1 (2025): 21–44. https://doi.org/10.1086/733790.

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Klejnowski-Różycki, Dariusz. "Teologiczne typy bizantyjskich ikon maryjnych." Sympozjum 25, no. 1 (40) (2021): 55–65. http://dx.doi.org/10.4467/25443283sym.21.005.13718.

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Theological types of Byzantine icons of the Virgin Mary The Christian East is extremely diverse. Some Churches of the Christian East have developed extensive iconographic art along with the theory of this art, while others have not. The Church of Constantinople developed patterns in the field of iconography, including Marian iconography. Byzantine Marian icons can be divided into four groups: (1) Marian feasts; (2) theological icons; (3) symbolic icons; (4) liturgical icons. A characteristic feature of theological icons is the focus on the close relationship between Mary and Christ (God). Thes
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Terezis, Christos. "The Byzantine icon as an expression of the composition of the “Beautiful” with the “Sublime”." dianoesis 13 (May 18, 2024): 155–70. http://dx.doi.org/10.12681/dia.37788.

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In this article I attempt to discuss the encounter between Christian Theology and the philosophical branch of Aesthetics. As a basis I have the icons of the Byzantine tradition, which also express the ecclesiastical way of its culture. First of all, I refer to what is defined as the aesthetic interpretation of a work of art and then to how its process receives theological characteristics in the style and approach of Byzantine icons. Next, I present the main characteristics of the artistic-aesthetic categories of the “Beautiful” and the “Sublime” and I undertake the responsibility to show how t
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CHRYSOSTOMIDES, ANNA. "Creating a Theology of Icons in Umayyad Palestine: John of Damascus’ ‘Three Treatises on the Divine Images’." Journal of Ecclesiastical History 72, no. 1 (2020): 1–17. http://dx.doi.org/10.1017/s002204692000007x.

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John of Damascus (c. 655–745) is a striking figure in church history as a defender of icon veneration and as a Church Father who maintained Byzantine Orthodoxy despite living under Muslim rule. His life amongst Muslims and his association with the Umayyad Melkite Christian community, the Christian Church which attempted to maintain an adherence to Byzantine Orthodoxy after the Arab conquest, is often associated with his defence of icons. However, most scholarship claims that his Three treatises on the divine images were written solely against Byzantine iconoclasm. This article provides a close
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Dissertations / Theses on the topic "Byzantine icons"

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

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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
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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 a
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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 th
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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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Trujillo, D. Morgan. "Christ Pantocrator the unsettled debate over the humanity and divinity of Jesus /." Connect to online version, 2008. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2008/275.pdf.

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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 th
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Sherry, Kurt E. "Kassia the Nun a case study in the poetic expression of iconophile and feminist thought in ninth-century Byzantium /." Laramie, Wyo. : University of Wyoming, 2007. http://proquest.umi.com/pqdweb?did=1317324031&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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Abdel-Ghani, Mona H., Howell G. M. Edwards, Ben Stern, and Robert C. Janaway. "Characterization of paint and varnish on a medieval Coptic-Byzantine icon: Novel usage of dammar resin?" Elsevier, 2009. http://hdl.handle.net/10454/4712.

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no<br>A comprehensive study has been undertaken into a 13th century Coptic-Byzantine icon from the St. Mercurius Church, St. Mercurius monastery, Old Cairo, Egypt. The layered structure, pigment composition and varnish identification were revealed by means of optical and Raman microscopy and gas chromatography¿mass spectrometry (GC¿MS). The structure of the icon comprised six layers; wooden panel, canvas, white ground, two bole layers and a single paint layer. Azurite (2CuCO3·Cu(OH)2), cinnabar (mercuric (II) sulfide ¿-HgS), yellow ochre (Fe2O3·H2O), hydromagnesite Mg5(CO3)4(OH)2·4H2O and lamp
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Books on the topic "Byzantine icons"

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Chatzēdakēs, Manolēs. Icons of Patmos: Questions of Byzantine and Post-Byzantine painting. National Bank of Greece, 1985.

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Chatzēdakēs, Manolēs. Icons of Patmos: Questions of Byzantine and post-Byzantine painting. National Bank of Greece, 1985.

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Kalavrezou, Ioli. Byzantine icons in steatite. Verlagder Österreichischen Akademie der Wissenschaften, 1985.

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Ėtingof, O. E. Vizantiĭskie ikony VI-pervoĭ poloviny XIII veka v Rossii. Indrik, 2005.

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Sophokleous, Sophoklēs. Icons of Cyprus: 7th-20th century. Museum Publications, 1994.

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Sklērēs, Stamatēs. En esoptrō: Eikonologika meletēmata. M.P. Grēgorēs Ekdoseis, 1992.

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

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

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Chatzēdakēs, Manolēs. Eikones tēs Patmou: Zētēmata vyzantinēs kai metavyzantinēs zōgraphikēs. Ethnikē Trapeza tēs Hellados, 1995.

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Weitzmann, Kurt. Icons. Alpine Fine Arts Collection (UK), 1993.

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Book chapters on the topic "Byzantine icons"

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Papalexandrou, Amy. "An Archaeology of Sound and Space in the Byzantine World." In Beyond Icons. Routledge, 2024. http://dx.doi.org/10.4324/9781003325383-8.

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Pettegrew, David K., and William R. Caraher. "High-Resolution Survey and the New Quest for the Byzantine Landscape." In Beyond Icons. Routledge, 2024. http://dx.doi.org/10.4324/9781003325383-2.

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

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Hetherington, Paul. "Studying the Byzantine Staurothèque at Esztergom." In Enamels, Crowns, Relics and Icons. Routledge, 2024. http://dx.doi.org/10.4324/9781003554059-9.

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Hetherington, Paul. "Byzantine Cloisonné Enamel: Production, Survival and Loss (*)." In Enamels, Crowns, Relics and Icons. Routledge, 2024. http://dx.doi.org/10.4324/9781003554059-1.

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Hetherington, Paul. "Byzantine Enamels on a Venetian Book-Cover." In Enamels, Crowns, Relics and Icons. Routledge, 2024. http://dx.doi.org/10.4324/9781003554059-6.

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Ševčenko, Nancy P. "Vita Icons and "Decorated" Icons of the Komnenian Period." In The Celebration of the Saints in Byzantine Art and Liturgy. Routledge, 2023. http://dx.doi.org/10.4324/9781003420736-6.

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Hetherington, Paul. "Enamels in the Byzantine World: Ownership and Distribution." In Enamels, Crowns, Relics and Icons. Routledge, 2024. http://dx.doi.org/10.4324/9781003554059-2.

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Ševčenko, Nancy P. "Icons in the Liturgy*." In The Celebration of the Saints in Byzantine Art and Liturgy. Routledge, 2023. http://dx.doi.org/10.4324/9781003420736-11.

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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.

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Conference papers on the topic "Byzantine icons"

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Maronidis, Anastasios, Chrysanthos Voutounos, and Andreas Lanitis. "An integrated tool for virtual restoration of Byzantine icons." In 2013 Fourth International Conference on Information, Intelligence, Systems and Applications (IISA). IEEE, 2013. http://dx.doi.org/10.1109/iisa.2013.6623685.

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Vassallo, V., N. Kyriacou, S. Hermon, and I. Eliades. "Tracing provenance of lost and found Cypriot Byzantine icons." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6743813.

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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.

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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
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Tornari, Vivi, Antonia Bonarou, Paolo Castellini, et al. "Laser-based systems for the structural diagnostic of artwork: an application to XVII-century Byzantine icons." In Lasers in Metrology and Art Conservation, edited by Renzo Salimbeni. SPIE, 2001. http://dx.doi.org/10.1117/12.445660.

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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.

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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
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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.

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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
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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.

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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
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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.

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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
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