Sources for Byzantine Art History
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Release | : 2022 |
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Release | : 2022 |
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Author | : Foteini Spingou |
Publisher | : Cambridge University Press |
Total Pages | : 1683 |
Release | : 2022-04-21 |
Genre | : History |
ISBN | : 1108643906 |
In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.
Author | : Foteini Spingou |
Publisher | : |
Total Pages | : |
Release | : 2021 |
Genre | : Art and society |
ISBN | : 9781108831932 |
"The period encompassed by this volume of translations opens with a major crisis over the status of the icon and its veneration. Charles Barber and David Jenkins (I.1.1 in this volume) present three extensive texts related to this crisis, which began when Leo of Chalcedon objected to the imperial appropriation of materials bearing sacred images, such as the doors of the Chalkoprateia church in Constantinople. As his arguments against this act unfolded in the period from 1082- to 1095, Leo developed a theory of the image that argued for a formal, as opposed to a material, presence of Christ in his icons. Given this presence of Christ's character, Leo argued that an icon should not be destroyed and that this portrayal deserved adoration. A full account of this argument is presented in Leo's letter to his nephew Nicholas of Adrianoupolis. This letter, which perhaps dates to 1093 or 1094, shows how Leo builds his case upon a reading of the ninth-century iconophile writings of Theodore of Stoudios and other authorities, which Leo reads as offering support for a hypostatic presence in the image mediated by the visible character of the subject. A key response to Leo of Chalcedon's arguments is offered by Eustratios of Nicaea. His Syllogistic Demonstration builds upon the logical model of ninth-century iconophile thought to show that the icon only has a formal relation to the subject depicted in that object. It is a response that is notable for its precise accounts of the limits of depiction, which becomes the description of the outline, form, and dimension of the outward and sensible traits of the appearance of a person. This allows him to argue that the material and sensible icon cannot receive adoration: Christ as God is adored; Christ as God cannot be depicted; therefore, the depicted, as depicted, is not adored. So that in no way can we speak of the adoration of a manufactured icon, or of adoration in an icon"--
Author | : Foteini Spingou |
Publisher | : |
Total Pages | : |
Release | : 2021 |
Genre | : Art and society |
ISBN | : 9781108483056 |
"The period encompassed by this volume of translations opens with a major crisis over the status of the icon and its veneration. Charles Barber and David Jenkins (I.1.1 in this volume) present three extensive texts related to this crisis, which began when Leo of Chalcedon objected to the imperial appropriation of materials bearing sacred images, such as the doors of the Chalkoprateia church in Constantinople. As his arguments against this act unfolded in the period from 1082- to 1095, Leo developed a theory of the image that argued for a formal, as opposed to a material, presence of Christ in his icons. Given this presence of Christ's character, Leo argued that an icon should not be destroyed and that this portrayal deserved adoration. A full account of this argument is presented in Leo's letter to his nephew Nicholas of Adrianoupolis. This letter, which perhaps dates to 1093 or 1094, shows how Leo builds his case upon a reading of the ninth-century iconophile writings of Theodore of Stoudios and other authorities, which Leo reads as offering support for a hypostatic presence in the image mediated by the visible character of the subject. A key response to Leo of Chalcedon's arguments is offered by Eustratios of Nicaea. His Syllogistic Demonstration builds upon the logical model of ninth-century iconophile thought to show that the icon only has a formal relation to the subject depicted in that object. It is a response that is notable for its precise accounts of the limits of depiction, which becomes the description of the outline, form, and dimension of the outward and sensible traits of the appearance of a person. This allows him to argue that the material and sensible icon cannot receive adoration: Christ as God is adored; Christ as God cannot be depicted; therefore, the depicted, as depicted, is not adored. So that in no way can we speak of the adoration of a manufactured icon, or of adoration in an icon"--
Author | : Cyril A. Mango |
Publisher | : University of Toronto Press |
Total Pages | : 292 |
Release | : 1986-01-01 |
Genre | : Art |
ISBN | : 9780802066275 |
Originally published by Prentice-Hall, 1972.
Author | : Robin Cormack |
Publisher | : Oxford University Press |
Total Pages | : 264 |
Release | : 2018 |
Genre | : Art |
ISBN | : 0198778791 |
A beautifully illustrated, new edition of the best single-volume guide to Byzantine art, providing an introduction to the whole period and range of styles.
Author | : Foteini Spingou |
Publisher | : |
Total Pages | : |
Release | : 2021 |
Genre | : Art and society |
ISBN | : 9781108831949 |
"The period encompassed by this volume of translations opens with a major crisis over the status of the icon and its veneration. Charles Barber and David Jenkins (I.1.1 in this volume) present three extensive texts related to this crisis, which began when Leo of Chalcedon objected to the imperial appropriation of materials bearing sacred images, such as the doors of the Chalkoprateia church in Constantinople. As his arguments against this act unfolded in the period from 1082- to 1095, Leo developed a theory of the image that argued for a formal, as opposed to a material, presence of Christ in his icons. Given this presence of Christ's character, Leo argued that an icon should not be destroyed and that this portrayal deserved adoration. A full account of this argument is presented in Leo's letter to his nephew Nicholas of Adrianoupolis. This letter, which perhaps dates to 1093 or 1094, shows how Leo builds his case upon a reading of the ninth-century iconophile writings of Theodore of Stoudios and other authorities, which Leo reads as offering support for a hypostatic presence in the image mediated by the visible character of the subject. A key response to Leo of Chalcedon's arguments is offered by Eustratios of Nicaea. His Syllogistic Demonstration builds upon the logical model of ninth-century iconophile thought to show that the icon only has a formal relation to the subject depicted in that object. It is a response that is notable for its precise accounts of the limits of depiction, which becomes the description of the outline, form, and dimension of the outward and sensible traits of the appearance of a person. This allows him to argue that the material and sensible icon cannot receive adoration: Christ as God is adored; Christ as God cannot be depicted; therefore, the depicted, as depicted, is not adored. So that in no way can we speak of the adoration of a manufactured icon, or of adoration in an icon"--
Author | : John Lowden |
Publisher | : Phaidon Press |
Total Pages | : 458 |
Release | : 1997-04-24 |
Genre | : Art |
ISBN | : 9780714831688 |
An authoritative account of early Christian and Byzantine art.
Author | : Maria G. Parani |
Publisher | : BRILL |
Total Pages | : 720 |
Release | : 2003 |
Genre | : Social Science |
ISBN | : 9789004124622 |
This examination of realia in Byzantine religious painting provides valuable information on Byzantine dress, household effects and implements, while introducing at the same time an alternative, literally 'objective', approach to the study of the formative processes of Byzantine art.
Author | : Henry Maguire |
Publisher | : |
Total Pages | : 0 |
Release | : 2023 |
Genre | : HISTORY |
ISBN | : 9781003417316 |
The twelve studies contained in this second collection by Henry Maguire are linked together by a common theme, namely the relationship of Byzantine art to the imaginary. They show how art enabled the Byzantines not only to imagine the sacred events of the past, but also to visualize the invisible present by manifesting the spiritual world that they could not see. The articles are grouped around the following five topics: the depiction of nature by the Byzantines before and after iconoclasm, especially in portrayals of the earthly and the spiritual Paradise; the social functions and theological significance of classical artistic forms in Byzantine art after iconoclasm; the association between rhetoric and the visual arts in Byzantium, especially in contrast to the role played by liturgical drama in western medieval art; the relationship of the visual arts to Byzantine concepts of justice and the law, both human and divine; and portrayals of the two Byzantine courts, the imperial court on earth and the imagined court in heaven. The papers cover a wide range of media, including floor and wall mosaics, paintings in manuscripts and churches, ivory carvings, coins, and enamel work.