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: 31 July 2024

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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 (June 16, 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 person raises questions regarding the manner in which an image can reveal a human being. Post-structuralist philosophers Maurice Blanchot and Kevin Hart have inverted this problematic. They begin the interpretation of icons and personhood not from the traditional understanding of the honor or worship paid to Christian icons. Instead, they examine the icon's deconstruction of the viewer. What results is an iconodule defense of a post-Cartesian “anthropological iconoclasm.”
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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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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 (March 2009): 35–43. http://dx.doi.org/10.1109/mis.2009.34.

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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). These icons include the types: Kyriotissa, Hodegetria, Eleusa, Platytera. These are the most important basic icons of Mary discussed in the article. Abstrakt Wschód chrześcijański jest niezwykle zróżnicowany. Niektóre Kościoły chrześcijańskiego Wschodu wypracowały rozbudowaną sztukę ikonograficzną wraz z teorią tej sztuki, a inne tego nie uczyniły. Kościół Konstantynopolitański wypracował wzorce w dziedzinie ikonografii, także maryjnej. Bizantyjskie ikony maryjne można podzielić na cztery grupy: (1) święta maryjne; (2) ikony teologiczne; (3) ikony symboliczne; (4) ikony liturgiczne. Cechą charakterystyczną ikon teologicznych jest skupienie się na więzi Maryi i Chrystusa (Boga). Do tych ikon należą typy: Kyriotissa, Hodegetria, Eleusa, Platytera. Są to najważniejsze, podstawowe ikony Maryi omówione w artykule.
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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 they function in Byzantine icons, with the former mainly expressing beauty and the latter mainly the intensive direction towards the divine. I also attempt to present some of the conditions by which a Byzantine icon is created, so that it captures, in an artistically and aesthetically remarkable way, holiness and is interwoven with the devotional life of the Christian church. In this perspective, I emphasize that the Byzantine icon reveals: a) how Jesus Christ, as an expression of manhood, fully realizes the immanence of the Holy Trinity and b) how his example is realized as a feat and as an expression of “image of God” from the saints. As an example of the above, I bring the icon “The Vaiophoros” of the Stavronikita Monastery of Mount Athos, which is the work of Theophanes from Crete. I choose it to show how the main directions of the Byzantine style regarding the composition of the “Beautiful” with the “Sublime” also meet during the post-Byzantine period.
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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 (August 20, 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 reading of his Treatises focusing on themes which overlap with contemporary Jewish and Muslim debates on figurative images, arguing that John wrote his Treatises in an attempt to create a seminal Melkite theology on icons for both Byzantine and Umayyad Christians faced with iconoclastic arguments from all three Abrahamic faiths.
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Burkovska, Liubov. "The Icon Prophet Elijah In The Desert With Life And Deesis of the Late 12th – Early 13th Centuries: Features of Iconography and Attribution." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 151–66. http://dx.doi.org/10.15407/mue2021.20.151.

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The icon Prophet Elijah in the Desert with Life and Devotion of the late 12th – early 13th century from the village of Vybuty near Pskov is the oldest living icon of the Kyivan Rus. The close connection of the icon with ancient Byzantine traditions is indicated by its unusual composition, where the author combines the images of Elijah in the center of the icon, the scenes from his life are on both sides and below, and above there are prayers with angels and apostles. In the scholars’ opinion, this rare plot combination is inspired by an ancient tradition – the icons are placed on the architrave of the altar partition on a similar principle in Byzantine temples. There is a very significant parallel for the structural construction of the monument – the arrangement of the fresco painting of the deaconicon of the Church of the Assumption (1252) in Morača (Montenegro), which is similar to a separate small church devoted to the prophet Elijah. The stylistic analysis of the monument and the Byzantine tradition of reproduction of ancient single images of the saints in the center of life icons makes it possible to suggest that the image borrowed from a monumental painting of a Sinai temple is reproduced in the center of the icon under study. Today it is impossible to find and determine with certainty an early Byzantine image of the prophet Elijah, which can be considered as a certain unit of reference for the following iconographic and artistic incarnations. However, it is well known that the most important role in the spread of Byzantine icons in the lands of Rus belongs to Kyiv. Greek icons have been transported from the Kyiv-Pechersk Monastery to other principalities. Often the artists have been invited to the northern principalities. Another important factor is the existence in Kiev of the ancient Elijah’s Church, where there were undoubtedly early Byzantine icons of the prophet. The first mention (dated 944) of the church is found in the work of Nestor the Chronicler The Tale of Bygone Years. The iconographic and stylistic analyses of the monument give reasons to suppose that the studied icon reproduces early Byzantine traditions, borrowed directly from one or another imported monument or its interpretation in Kyiv art of pre-Mongolian times.
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Buko, Andrzej, Tomasz Dzieńkowski, Stanisław Gołub, Mirosław P. Kruk, Marek Michalik, Aleksandr Musin, Grzegorz Osipowicz, Alicja Rafalska-Łasocha, and Marcin Wołoszyn. "Beyond Beauty. Byzantine steatite icon from Chełm. Archaeology, Petrography and Traceology." Praehistorische Zeitschrift 96, no. 2 (October 5, 2021): 609–49. http://dx.doi.org/10.1515/pz-2021-2041.

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Abstract A fragmentarily preserved Byzantine icon made of steatite was discovered in 2015 during regular excavations in Chełm, eastern Poland. Identified as the left wing of a diptych illustrating the Twelve Great Feasts and created at the close of the 12th century, the find is one of the most important and beautiful Byzantine artefacts to have been found in Poland. The icon was uncovered within the confines of the palace complex which was created by Daniel (Danylo) Romanovych († 1264) in Chełm in the second quarter of 13th century. The icon, even though it was found within the borders of what is now Poland, is material evidence of contact between Byzantium and the social elite of the Galicia-Volhynia lands, rather than with the Polish Piasts. In this paper we concentrated on the presentation of the archaeological context of the find, which made it possible to establish that the icon arrived Chełm before the middle of the 13th century (terminus ante quem 1253), and especially on petrographic and traceological analyses of the icon. Assuming that greenish plaques were indeed the most characteristic steatite icon type, a decision was made to examine, apart from the Chełm artefact made from white rock, a greenish icon from the National Museum in Krakow as well. Petrographic analyses were based on optical microscopy, scanning electron microscopy with energy dispersive spectrometry (SEM-EDS) and X-ray powder diffraction (XRPD). Both icons were carved in steatite i. e. talc rich rock but their chemical compositions indicate the presence of other components. Artifact from Chełm is white. Porous, enriched in potassium (K) and locally blistering outer rim of the icon from Chełm was formed probably during the fire event. Presence of forsterite and subordinate amount of leucite also indicate high temperature influence. Local enrichment in calcium (Ca) is related to exchange reactions with ground compounds. Accumulation of different components on the surface of the icon’s surface was noted. The icon from the National Museum in Krakow is greenish probably because of the presence of chlorite. The results of the traceological analysis (icon from National Museum in Krakow was not analysed) indicate that the icon found in Chełm was created most likely by a skilled and experienced carver with access to the high-quality magnifying glass and specialist tools required for rendering minuscule objects and their details. The production of the icon also involved the use of a “mechanical” tool, probably a kind of a miller with a rotating polishing head, which also seems to point to a specialist workshop. The use-wear traces observed on artefact are limited to polish resulting from prolonged contact with human hands or storing the icon in a leather case. Most of the extant Byzantine icons are unprovenanced objects held in museum collections or church treasuries. Therefore, as the icon presented in this paper was discovered during archaeological excavations, it ranks among the few Byzantine artefacts to have been found outside of this realm. The petrographic and traceological analyses conducted are the first published natural science contributions to the study of Byzantine steatite icons and we hope they will provide the impetus for undertaking such research on other Byzantine finds, helping to develop Byzantine archaeology further.
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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 dans leur contexte historique et artistique, de la présentation de l'état de la recherche et de J'approche méthodologique. Le texte s'articule en quatre chapitres. Le premier inclut une présentation de la fréquence de l'illustration des saints sur les icônes, de la répartition des œuvres par siècle, de la localisation des peintres connus et des commanditaires d'après des inscriptions dédicatoires. Le deuxième aborde l'évolution de la typologie quant à la disposition du cycle hagiographique du saint par rapport à la représentation centrale, au nombre des compartiments et le rapport avec celui des épisodes illustrés, les modes de délimitation des compartiments et la mise en place des épisodes illustrés. Le troisième chapitre étudie en détail l'évolution de l'iconographie des scènes, de la constitution des cycles et de la diffusion des formules iconographiques, avec comme point de départ les cycles des saints Georges et Nicolas. L'étude de l'évolution iconographique des cycles des toutes les icônes, suivant l'ordre chronologique des œuvres, est abordée dans le quatrième chapitre
The present thesis is about vita icons executed from the beginning of the 15th to the end of the 17th c. on the island of Crete which was under Venetian rule since 1210. The capture of Constantinople by the Ottomans in 1453 deprived the Byzantine empire of its center and Crete, where several Constantinopolitan painters have taken refuge, has developed, under their influence, the art of the icons painting in workshops organized on the mode] of Western workshops. This study includes 74 icons of 26 saints. ln the Introduction, the presentation of the subject is followed by the integration of the works in their historical and artistic context, the presentation of the state of the research and the methodological approach. The text is divided into 4 chapters. The 1st includes a presentation of the frequency of illustration of saints on icons, the distribution of works by century, the location of known painters and sponsors based on dedicatory inscriptions. The 2nd deals with the evolution of the typology as to the disposition of the hagiographic cycle of the saint in relation to the central representation, the number of compartments and the relationship with that of the illustrated episodes, the modes of delimitation of the compartments and the establishment of the illustrated episodes. The 3d chapter studies in detail the evolution of the iconography of the scenes, the constitution of the cycles and the diffusion of the iconographic formulas, with as starting point the cycles of saints Georges and Nicolas. The study of the evolution of the iconography of the cycles of ail the icons, according to the chronological order of the works, is addressed in the 4th chapter
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Karoussos, Ekaterini. "Theōria : the veneration of icons via the technoetic process." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/8069.

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The Second Council of Nicaea, in 787 AD, marked the end of iconoclasm, while in 843 the Treaty of Verdun laid the foundations of Europe. With these agreements, a sustained period of imageless iconolatry was initiated. However, the veneration of icons was based on the absolute worship of matter and form, which replaced the prime spiritual concept of ‘image and likeness’. Millennia of research and thought resulted in imageless representations of natural phenomena. Pushing aside the topology of the image and its sign, the intelligent man, from the Age of Reason and onward, considered himself as an auto-authorised and teleological-free entity. To this end, he maximised the intelligibility of his space by designing an all-inclusive Cartesian cocoon in which to secure his mass and form. Yet, there he found his pet (Schrodinger’s Cat) to be both dead and alive, and the apple, still forbidden, had become a bouncing ball, serving as evidence of gravity. Hence, this intelligent design, by default, carries the residual fear of Manichaean and Augustinian devils, and is deemed to have converted to a de-sign crisis. Relying on literature sources, this dissertation examines two dominant models that govern human cognition and the production of knowledge. Despite remarkable scientific achievements which resulted, the aftermath of human progress was, among others, the maximisation of residual fear, to such an extent that voracious black holes devour all matter. Inaugurating the transhumanist period, the human becomes a Manchurian Candidate, still an upgraded ape and a victim of his own nature in the Anthropocene. In an attempt to overcome this de-sign crisis, the research presented in this thesis aims to address the necessity of the restoration of icons, as evidenced by Byzantine art and philosophy but neglected in the name of human supremacy and imperialism. This thesis elucidates Classical and Late Antiquity manuscripts in an effort to set a new ‘restore point’, endeavouring to launch the image in the current organosilicon substances; examples from Scripture narratives as well as from visual arts contribute to this effort. The proposed concluding scheme is the Module of Theōria, which reflects the major transhumanistic elements such as transmutation, interaction and fluidity. Theōria functions through noetic mechanisms, using ‘image and likeness’ as the prime carriers of knowledge. The anticipated outcome is to reveal a human investment in a pro-nature incorruptibility with the advent of Theōria in the field of Τechnoetics, where one can administer ‘image and likeness’ to gain capital liquidity.
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Joumaa, Jamal. "The influence of the icon in contemporary Egyptian art." Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/229.

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The icon represents a great part of the heritage of Christian arts in Egypt. In this thesis the early stages of iconic art are studied to find out the influential factors leading to the formation of the icon as it is now. The Coptic icon in particular is studied, both the icon itself and how it differs from the Byzantine icon. The religious factor is focussed on as an effective and modelling element in defining the icon, and the symbols are studied in order to go back to their historical roots. This study also aims at tracing the phenomenon of iconic art, by studying its characteristics and the works themselves and by clarifiying the iconic symbols as part of the cultural and creative activity. The important artworks in iconic art are analysed, and the effect of iconic art on human and social life is shown
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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 the works themselves and by clarifiying the iconic symbols as part of the cultural and creative activity. The important artworks in iconic art are analysed, and the effect of iconic art on human and social life is shown
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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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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 black (carbon, C) are the pigments identified in the icon. The green paint area is of interest as it is applied neither with a green pigment nor with a mixture of a blue and yellow pigment. Instead, a yellow layer of dammar resin was applied on top of blue azurite to obtain the green colour. Pinaceae sp. resin mixed with drying oil was used as a protective varnish.
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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. [Athens]: National Bank of Greece, 1985.

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

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

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

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

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

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

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

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

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

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Book chapters on the topic "Byzantine icons"

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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, VI—56—VI—69. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420736-6.

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Ševčenko, Nancy P. "Icons in the Liturgy*." In The Celebration of the Saints in Byzantine Art and Liturgy, XI—1—XI—41. London: 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, 333–44. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417521-19.

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Ševčenko, Nancy P. "Marking Holy Time: The Byzantine Calendar Icons*." In The Celebration of the Saints in Byzantine Art and Liturgy, IV—51—IV—62. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420736-4.

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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, 184–207. Turnhout: Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.convisup-eb.5.136737.

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Maronidis, Anastasios, and Andreas Lanitis. "An Automated Methodology for Assessing the Damage on Byzantine Icons." In Progress in Cultural Heritage Preservation, 320–29. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34234-9_32.

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Ševčenko, Nancy P. "The Representation of Donors and Holy Figures on Four Byzantine Icons." In The Celebration of the Saints in Byzantine Art and Liturgy, X—1—X—15. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420736-10.

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Poulia, Anthoula, Konstantina Sougioultzi, Ioannis Liougkos, and Alkiviadis Paipetis. "Unraveling the Materials and Techniques of Post-Byzantine Icons from Epirus, Greece." In Advanced Nondestructive and Structural Techniques for Diagnosis, Redesign and Health Monitoring for the Preservation of Cultural Heritage, 3–15. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-03795-5_1.

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Deschler, Jean-Paul. "Syriac Echoes on Byzantine Icons - Common Motives in Liturgical Texts and on Sacred Images." In The Harp (Volume 23), edited by Baby Varghese, Rev Jacob Thekeparampil, and Abraham Kalakudi, 301–22. Piscataway, NJ, USA: Gorgias Press, 2011. http://dx.doi.org/10.31826/9781463233129-024.

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Lymberopoulou, Angeliki. "Late and Post-Byzantine Art under Venetian Rule: Frescoes versus Icons, and Crete in the Middle." In A Companion to Byzantium, 351–70. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444320015.ch27.

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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 both by the deficient author’s technique and by the exogenous, biotic and abiotic factors. The wooden supports of some icons were severely degraded by the attack of xylophagous insects, being affected both the mechanical resistance and the appearance of the wood. The numerous galleries immediately below the pictorial layer determined its deformation. The pictorial layer of some icons was degraded mainly due to the errors of the painters’ work technique: very thin and fragile preparation layer or excessive binder, which led to the formation of accentuated early cracks. The appearance of the icons was affected either by the chromatic alteration of the protective varnish, or by the deposits of dust and soot in the atmosphere. The interventions for the conservation of the icons consisted in biociding the painting support and in consolidating the pictorial layer detached from the wooden support. The restoration of the icons aimed at removing the dirt deposits from the painting by physico-chemical means, filling the gaps in the icons and their chromatic integration, with easily reversible materials. After conservation and restoration, the icons returned to the Agapia Monastery for use.
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Tornari, Vivi, Antonia Bonarou, Paolo Castellini, Enrico Esposito, Wolfgang Osten, Michael K. Kalms, Nikos Smyrnakis, and Stergios Stasinopulos. "Laser-based systems for the structural diagnostic of artwork: an application to XVII-century Byzantine icons." In Lasers in Metrology and Art Conservation, edited by Renzo Salimbeni. SPIE, 2001. http://dx.doi.org/10.1117/12.445660.

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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 itself and its relation to the painted decorations of each monument (ill. 1–4, 6–9). Special attention is given to the motif of the stone slab in the church of Saint Nikita in Skoplje, the foundation of king Milutin (built: 1299/1300 –1308; decorated with frescoes: around 1324; 1484; 1846).
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Зашев, Евгени. "За най-ранната топография на култа към св. Седмочисленици. Обособяване на култа." In 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 wall paintings, three icons, a carved medallion and three reliquaries. Based on the mentioned sources, the earliest topography of the Seven Saints cult is outlined, and the individual monuments are presented in their geographical, cultural-historical, and architectural context. There is an emphasis on the fact that the historical evidences of the early stage of the propagation of the Seven Saints cult derive from a relatively limited geographical area – the lands of the Berat diocese and its immediate surroundings. The images from Dratcha monastery (1735) and from the church “St. Prophet Elijah” in Siatista (1744) are rather exceptions. As a conclusion, it is noticed that the language of the entire described tradition, including both the three written monuments and the numerous images and artefacts, is Greek. This tradition cannot yet be recognized as a genuine Bulgarian national initiative of the revival type, but rather is a regional post-Byzantine cult that arose in the southwestern regions of the Ochrid Archdiocese in a multi-ethnic environment with a dominant cultural Hellenism. The artefacts preserved to present days, which are probably only a part of those actually created, testify to the inclusion of the Seven Saints in the sacral pantheon of the Ochrid Archdiocese, thereby raising its ecclesiastical authority and supporting its historical pretensions to canonical independence. The tendencies observed in the perspective of the cult development in the second half of the 19th century are the gradual transfer to the east and northeast to the lands of Macedonia, more compactly populated with Bulgarians, and the appearance of images bringing to the fore the creation of the Bulgarian alphabet.
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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 systematize knowledge of the cul- tural past, to explain the spiritual and historical forces of the time, to understand Byzantine influences on art forms and meanings, to find elements of original art within medieval Serbian culture and to establish the most reliable periodization of literary and artistic styles. Methodologically, in examining the key focuses of a historically limited period, such as the Middle Ages, Kašanin insists on mutual “illumination of art”. He also connects the poetic and spiritual-aesthetic features of specific literary achievements with medieval church and secular architecture, fresco painting or icon painting, but also with socio-political factors. Therefore, we tried to outline the analytical and methodological framework of Kašanin’s spiritual, historical, and aesthetic thought from the point of view of the history of literary criticism, concerning the way in which he had perceived and named the artistic forms of Milutin’s epoch, art forms in which Milutin’s age and literary achievements of monk Theodosius and archbishop Danilo II.
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