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Relevant bibliographies by topics / Mosaics, Early Christian

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Academic literature on the topic 'Mosaics, Early Christian'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Mosaics, Early Christian"

1

Michaelides, Demetrios. "The Early Christian Mosaics of Cyprus." Biblical Archaeologist 52, no. 4 (December 1989): 192–202. http://dx.doi.org/10.2307/3210136.

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Brenk, Beat. "Early Christian Mosaics: A Floating World of Abstract Associations." Hortus Artium Medievalium 20, no. 2 (May 2014): 647–57. http://dx.doi.org/10.1484/j.ham.5.102680.

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Bonnerot, Olivier, Andrea Ceglia, and Demetrios Michaelides. "Technology and materials of Early Christian Cypriot wall mosaics." Journal of Archaeological Science: Reports 7 (June 2016): 649–61. http://dx.doi.org/10.1016/j.jasrep.2015.10.019.

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Fathy, Ehud. "From Early to Divine." Humanitas 75 (May 27, 2020): 93–120. http://dx.doi.org/10.14195/2183-1718_75_5.

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The asàrotos òikos or “unswept floor” is a decorative theme found in Roman mosaics. The theme depicts scraps of food along other items, as if scattered across the room’s floor. According to Pliny the theme was first created by Sosus in Pergamon. The mosaic Pliny is referring to was never discovered; however, later Roman variations on this theme were discovered in both Italy and Tunisia. This article seeks to examine the changes made to the asàrotos òikos motif when it transitions from centre to periphery and from the first to the sixth century CE. This article explores the functions and meanings the theme has held in Roman thought during the first and second century CE, the change in perception and use of the theme during the third century in the provincial Roman towns of North Africa, the influence of the theme on Early Christian art – both in style and iconography, and the new meanings possibly assigned to the theme upon its later use in a Byzantine basilica.

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Lysandrou, V., D. Cerra, A. Agapiou, E. Charalambous, and D. G. Hadjimitsis. "Towards a spectral library of Roman to Early Christian Cypriot floor mosaics." Journal of Archaeological Science: Reports 14 (August 2017): 782–91. http://dx.doi.org/10.1016/j.jasrep.2016.06.029.

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Miles, Margaret R. "Santa Maria Maggiore's Fifth-Century Mosaics: Triumphal Christianity and the Jews." Harvard Theological Review 86, no. 2 (April 1993): 155–72. http://dx.doi.org/10.1017/s001781600003114x.

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The fifth-century mosaics of Santa Maria Maggiore in Rome represent the oldest surviving program of mosaic decoration in a Christian church. Its political context includes the steady drain of political authority and power to the Eastern empire from the early fourth century forward, the proscription of paganism at the end of the fourth century, and the massively disruptive Sack of Rome by Alaric in 410 CE. In the vacuum of political power in the West, the papacy under Sixtus III made a strong claim for a new basis of Roman power—the religious primacy of the city of Peter and Paul under papal leadership. The building and decoration of Santa Maria Maggiore played an important role in the consolidation and public announcement of papal power.

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Bonnerot, Olivier. "A Study of Materials used in the Production of Wall Mosaics in Cypriot Early Christian Basilicas." Cahiers du Centre d'Etudes Chypriotes 43, no. 1 (2013): 51–62. http://dx.doi.org/10.3406/cchyp.2013.1053.

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Wade, Janet. "The eternal spirit of Thalassa: The transmission of classical maritime symbolism into byzantine cultural identity." Journal of the Australian Early Medieval Association 14 (2018): 51–69. http://dx.doi.org/10.35253/jaema.2018.1.4.

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In antiquity, the sea held an important place in the hearts and minds of those living in the Mediterranean region, and maritime motifs were popular across a range of literary and artistic genres. Classical maritime imagery was transmitted almost seamlessly into early medieval and Byzantine cultural identity, despite its overt polytheistic connotations. Mosaics depicting maritime deities and mythological seafaring scenes were installed in private residences and Christian churches. Poets wrote of Fortune steering the ship of life and orators spoke of leaders at the helm of their state. Didactic and ecclesiastical texts taught of the corrupting nature of merchants and the sea, and compared the trials and tribulations of everyday life and faith with storms and squalls. The Christian church also became viewed as a ship or safe harbour. Seafaring imagery was regularly imbued with both traditional and contemporary religious, political, and cultural relevance. This paper argues that the ongoing popularity of maritime symbolism was not only a throwback to classical times or because seafaring themes had a greater relevance to Christians than non-Christians. Thalassa (the Sea) had always been important in Greek and Roman thought, and she acquired a more tangible and pervasive presence in the lives of those in the late antique Roman East. Unlike Rome, the eastern capital at Constantinople was itself a great maritime entrepot. The maritime cultural milieu that dominated coastal Mediterranean regions played an influential role in the city and its far-reaching empire. Constantinople sat at the centre of a vast network of seaports and was a major hub of Roman culture and communication. With the city's foundation, classical maritime imagery acquired a contemporary cultural and political relevance; even as the Graeco-Roman world slowly evolved into a Christian one.

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Laffin, Josephine. "What Happened to the Last Judgement in the Early Church?" Studies in Church History 45 (2009): 20–30. http://dx.doi.org/10.1017/s0424208400002382.

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The Last Judgement was one of the most important themes in Christian art from the twelfth to the sixteenth centuries. It can be found in glittering mosaics on the west wall of the cathedral on the island of Torcello in the Venetian lagoon, on the sculptured centre portal of the west façade of Notre Dame in Paris, in Luca Signorelli’s haunting frescos in the Chapel of the Madonna of San Brizio in Orvieto, and in Michelangelo’s masterpiece in the Sistine Chapel. Numerous other churches had their own ‘dooms’. A dramatic but not untypical example from the twelfth century can be found above the entrance to the Church of Sainte-Foy at Conques. Christ is enthroned as an austere judge, dividing the saved from the damned. The procession to heaven is neat and orderly while hell is chaotic, being depicted as a hideous mouth devouring the damned, a common representation in medieval art. In ominous foreboding, this Romanesque Last Judgement rivals the thirteenth-century hymn, theDies Irae, as a reminder of the coming ‘day of wrath and doom impending’.

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Karlsson, Lars, Jesper Blid, and Olivier Henry. "Labraunda 2010. A preliminary report on Swedish excavations." Opuscula. Annual of the Swedish Institutes at Athens and Rome 4 (November 2011): 19–67. http://dx.doi.org/10.30549/opathrom-04-03.

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The campaign of 2010 continued the work which was initiated last year. The excavations in the fortress on the Tepesar Hill were completed. The fortress consists of a large, early Hekatomnid tower where two black-gloss vessels indicated a dating of the tower to about 380–350 BC. In the two additions to the tower, several wellpreserved vessels dating from the 3rd century BC were uncovered. The latest fragment was a painted piece from a lagynos from around 200 BC, but there were no fragments of Megarian bowls. The test probe of last year in the West Church Complex was extended to a larger trench measuring c. 9 × 12 m. Evidence for three major phases could be established by J. Blid: (1) a Late Classical stoa; (2) the stoa colonnade is rebuilt into a Christian basilica of the 5th century AD; (3) a Middle Byzantine building of possibly 12th–13th-century date. Many marble pieces were retrieved from the marble furniture of the church, as well as three sections of white and polychrome mosaics. During the necropolis excavations 29 tombs were investigated, of which 11 were unplundered, in a newly discovered burial ground dating back to the 5th century BC. Although the tombs of this area were modest in shape and in terms of associated deposits, they provide a new insight for understanding the history of the necropoleis of Labraunda. Finally, architect Chet Kanra continued working on the plans for the restoration of Andron A, and marble conservator Agneta Freccero conducted trial conservation on an Ionic capital from Andron A. Thomas Thieme and Pontus Hellström gathered further information for their publication of the andrones.

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Dissertations / Theses on the topic "Mosaics, Early Christian"

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Sweetman, Rebecca J. "The mosaics of Roman and early Christian Crete." Thesis, University of Nottingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311720.

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Terry, James H. "Christian tomb mosaics of Late Roman, Vandalic and Byzantine Byzacena /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901295.

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Thesis (Ph. D.)--University of Missouri-Columbia, 1998.
The accompanying CD-ROM contains maps and images for use with the dissertation. Filenames correspond to the catalogue numbers used in the dissertation. The MAPS folder contains a map of the tomb mosaic sites. Typescript. Vita. Includes bibliographical references (leaves 238-259). Also available on the Internet.

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Osbourne, Gavin. "Mosaics of power : superstition, magic and Christian power in early Byzantine floor mosaics." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54017/.

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This thesis argues that some Early Byzantine floor mosaics had, in addition to a practical and decorative role, a supernatural function. By this I mean the images and words depicted within the mosaic were perceived as devices to attract powers from a supernatural dimension, for the benefit of those that walked over the mosaic or the building that housed it. The thesis is ultimately a discussion of the Byzantines' beliefs in the power of art and text, and how they were believed to intervene and affect everyday life. My examination is carried out with a focus on the floor mosaics produced between the fourth and seventh centuries in the Byzantine Empire. Using an iconographic methodological approach, the thesis explores how certain images and words incorporated within mosaic designs can be seen in supernatural terms. To do so, comparable material objects with clearer supernatural functions will be examined. Primary sources that indicate how certain motifs were perceived to bring about powers will also be analysed. In this thesis, I analyse the different kinds of devices that were depicted to attract supernatural powers and explore why those devices were believed to have the ability to generate powers. The thesis illustrates how power could be seen as being rooted in Christianity, magic or more unclear sources. Expanding on this discussion, I explore how a single mosaic could incorporate elements from several sources, dispelling scholarship that portrays the Early Byzantine period as predominately influenced by Christianity. The other key function of the thesis is to emphasise the fact that mosaics can be considered in terms of the conscious design process of their construction, placing them within the same category as gemstones and icons in terms of purposeful objects.

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Jwejati, Rafah. "Sur le chemin de Jérusalem : étude archéologique et iconographique de mosaïques paléochrétiennes de la Syrie du Nord." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115612.

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"Sur le chemin de Jerusalem" is the comprehensive examination of three unknown mosaic pavements, exhibited in the Museum of Maaret-en-Nouman in Northern Syria. A comparison with other known documents brings together elements of evidence to their provenance, to the type of building they had adorned, and to the underlying links between architectural organization and mosaic ornamental decoration in an ecclesiastic environment. The picture catalogue detailing the size and composition of each of the three mosaics dates the iconographic material from the third quarter of the fourth century to the first half of the fifth century, that period in time which witnessed the Christianization of the North Syrian countryside and a great development of Christian pilgrimages to the Holy Sites of Palestine.
The mosaic of Temanaa features the cosmographic representations of late antique Near East. With the mosaic of Beseqla, we find the earliest dated example of a decorated pavement of a paleochristian baptistery. Tell Aar is the fragmentary mosaic of an unusually early example of a five-aisle transept basilica housing apostolic remains.
The exceptional quality of these documents demonstrates how close attention to material history can effectively increase our knowledge of the growth and expansion of early Christianity.

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Leatherbury, Sean Villareal. "Inscribed within the image : the visual character of early Christian mosaic inscriptions." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:9ea6f425-7010-4820-b35d-bed33c658b60.

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Between the fourth and the seventh centuries CE, Christian patrons erected thousands of churches, chapels, and monasteries in cities and villages across the Mediterranean, decorating the apses, walls and floors of many of these structures with figural and geometric mosaics. These late antique Christian mosaics have been studied for their iconography, their Graeco-Roman components, and as evidence for the religious beliefs of newly-Christian patrons. However, art historians largely have ignored the ways that texts, inscribed within the visual field and composed of the same mosaic material, functioned as images in Christian spaces. For the first time, this thesis assembles the foundations of a comprehensive catalogue of early Christian mosaic inscriptions, places them back into the physical spaces in which they were meant to be read, and analyzes how these texts functioned both verbally and visually for the late antique reader/viewer, against the backdrop of Graeco-Roman traditions. I first examine the ekphrastic components of Christian inscriptions and look more closely at the different ways in which texts work with and against images and spaces, encouraging the viewer to react physically and mentally. Second, I study the language of light used by the inscriptions, and argue that this language linked text to the material of mosaic and enabled patrons to make complex statements about their cultural erudition and religious affiliation. Third, I investigate the functions and visual forms of short tituli which label scenes or name figures to simplify, authenticate or transform static images into narratives in motion. Finally, I turn to the frames of the inscriptions and contend that different forms conveyed powerful visual arguments. By writing these texts back into their mosaics, this thesis argues that texts and images were inseparable in the period, and that text written into images performed and played in more complex ways than has been previously thought.

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Books on the topic "Mosaics, Early Christian"

1

Marmoribus vestita: Miscellanea in onore di Federico Guidobaldi. Città del Vaticano: Pontificio istituto di archeologia cristiana, 2011.

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Croatia. Uprava za zǎstitu kulturne baštine., ed. Podni mozaici u Hrvatskoj od 1. do 6. stoljeća. Zagreb: Ministarstvo kulture Republike Hrvatske, Uprava za zaštitu kulturne baštine, 2003.

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E Sara sorrise: I quattro stili dei mosaici ravennati e altre chiavi di lettura. Ravenna: Edizioni del Girasole, 2003.

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4

Renate, Pillinger, Smith Barbara 1945-, and Österreichische Akademie der Wissenschaften, eds. Spätantike und frühchristliche Mosaike in Georgien. Wien: Verlag der Österreichischen Akademie der Wissenschaften, 1995.

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Pontifical Institute of Mediaeval Studies., ed. The mosaics of Antioch. Toronto: Pontifical Institute of Mediaeval Studies, 1988.

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Campbell, Sheila D. The mosaics of Antioch. Toronto, Ont., Canada: Pontifical Institute of Mediaeval Studies, 1988.

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Eugenio, Alliata, ed. Madaba: Le chiese e i mosaici. Cinisello Balsamo (Milano): Edizioni Paoline, 1989.

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Cvetković-Tomašević, Gordana. Mosaïques de pavement paléobyzantines dans le palais épiscopal `a Hérakléa Lynkestis. Beograd: Institut pour la Protection des Monuments Historiques de la Serbie, 2002.

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Kalpakovska, Vesna. Život vo Heraclea Lyncestis preku epigrafskite spomenici. Bitola: Zavod za zaštita na spomenicite na kulturata, prirodnite retkosti, Muzj i Galerija, 2003.

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Iacumin, Renato. Aqvileia il tesoro di Luce: Il mosaico pavimentale della prima aula di riunioni del Cristianesimo Aquileiese. Reana del Rojale: Chiandetti, 1988.

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Book chapters on the topic "Mosaics, Early Christian"

1

Talgam, Rina. "Christian Floor Mosaics." In The Routledge Handbook of Early Christian Art, 104–23. First [edition]. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-7.

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Deliyannis, Deborah Mauskopf. "The Mosaics of Ravenna." In The Routledge Handbook of Early Christian Art, 347–63. First [edition]. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-21.

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Leatherbury, Sean V. "Christian Wall Mosaics and the Creation of Sacred Space." In The Routledge Handbook of Early Christian Art, 86–103. First [edition]. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-6.

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Vataj, Esmeralda, Elio Hobdari, Stefan Röhrs, Peter Vandenabele, and Nikolla Civici. "Analytical characterization of glass tesserae from mosaics of early Christian basilicas in Albania." In inArt 2016, 355–69. Berlin, Heidelberg: Springer Berlin Heidelberg, 2017. http://dx.doi.org/10.1007/978-3-662-55417-3_35.

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Becker, Eve-Marie. "John 13 as Counter-Memory: How the Fourth Gospel Revises Early Christian Historiography." In The Gospel of John as Genre Mosaic, 269–82. Göttingen: Vandenhoeck & Ruprecht, 2015. http://dx.doi.org/10.13109/9783666536199.269.

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Maguire, Henry. "Moslems, Christians, and Iconoclasm: Erasures from Church Floor Mosaics during the Early Islamic Period." In Byzantine Art, 111–19. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2792.

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Burdajewicz, Julia. "Wall paintings, wall mosaics, and marble wall revetments in Early Christian churches of the southern Levant." In Ex Oriente Lux. Studies in Honour of Jolanta Młynarczyk. Warsaw University Press, 2020. http://dx.doi.org/10.31338/uw.9788323541073.pp.323-334.

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Fowler, Kimberley. "Early Christian perspectives on Roman law and Mosaic law." In Legal engagement, 429–54. Publications de l’École française de Rome, 2021. http://dx.doi.org/10.4000/books.efr.10093.

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Meeks, Wayne A. "Vision of God and Scripture Interpretation in a Fifth-Century Mosaic." In In Search of the Early Christians, 230–45. Yale University Press, 2002. http://dx.doi.org/10.12987/yale/9780300091427.003.0012.

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"Thoughts on the Meaning of a “Decorative” Early Christian Mosaic." In The Levant: Crossroads of Late Antiquity / Le Levant: Carrefour de l'Antiquité tardive, 423–43. BRILL, 2014. http://dx.doi.org/10.1163/9789004258273_021.

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