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Kreinath, Jens. "Aesthetic Sensations of Mary: the Miraculous Icon Of
Kreinath, Jens. "Aesthetic Sensations of Mary: The Miraculous Icon of Meryem Ana and the Dynamics of Interreligious Relations in Antakya." Figurations and Sensations of the Unseen in Judaism, Christianity and Islam: Contested Desires. By Birgit Meyer and Terje Stordalen. London: Bloomsbury Academic, 2019. 154–171. Bloomsbury Studies in Material Religion. Bloomsbury Collections. Web. 26 Sep. 2021. <http://dx.doi.org/10.5040/9781350078666.0017>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 12:16 UTC. Copyright © Birgit Meyer, Terje Stordalen and Contributors. This Work is licensed under the Creative Commons License. 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 8 Aesthetic Sensations of Mary: Th e Miraculous Icon of Meryem Ana and the Dynamics of Interreligious Relations in Antakya1 J e n s K r e i n a t h Introduction Antakya – formerly Antioch – is the southernmost city of Turkey, known for its religious and ethnic diversity, with its people belonging to diff erent Christian and Muslim denominations. It is situated with the Mediterranean to the west and borders Syria to the east and south (see Figure 8.1 ). In 1939, Hatay was the last province to offi cially become part of the Republic of Turkey ( Shields 2011 : 17–47, 143–75, 232–49). Now, the ethnically diverse population of about 1.5 million is primarily composed of people of Turkish and Arab descent. With its unique blend of diff erent languages and cultures, Hatay became known for its religious tourism industry. -
Maestà (Madonna and Child with Four Angels) C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Master of Città di Castello Italian, active c. 1290 - 1320 Maestà (Madonna and Child with Four Angels) c. 1290 tempera on panel painted surface: 230 × 141.5 cm (90 9/16 × 55 11/16 in.) overall: 240 × 150 × 2.4 cm (94 1/2 × 59 1/16 × 15/16 in.) framed: 252.4 x 159.4 x 13.3 cm (99 3/8 x 62 3/4 x 5 1/4 in.) Samuel H. Kress Collection 1961.9.77 ENTRY This panel, of large dimensions, bears the image of the Maestà represented according to the iconographic tradition of the Hodegetria. [1] This type of Madonna and Child was very popular among lay confraternities in central Italy; perhaps it was one of them that commissioned the painting. [2] The image is distinguished among the paintings of its time by the very peculiar construction of the marble throne, which seems to be formed of a semicircular external structure into which a circular seat is inserted. Similar thrones are sometimes found in Sienese paintings between the last decades of the thirteenth and the first two of the fourteenth century. [3] Much the same dating is suggested by the delicate chrysography of the mantles of the Madonna and Child. [4] Recorded for the first time by the Soprintendenza in Siena c. 1930 as “tavola preduccesca,” [5] the work was examined by Richard Offner in 1937. In his expertise, he classified it as “school of Duccio” and compared it with some roughly contemporary panels of the same stylistic circle. -
Religious Imagery of the Italian Renaissance
Religious Imagery of the Italian Renaissance Structuring Concepts • The changing status of the artist • The shift from images and objects that are strictly religious to the idea of Art • Shift from highly iconic imagery (still) to narratives (more dynamic, a story unfolding) Characteristics of Italian Images • Links to Byzantine art through both style and materials • References to antiquity through Greco-Roman and Byzantine cultures • Simplicity and monumentality of forms– clearing away nonessential or symbolic elements • Emphasizing naturalism through perspective and anatomy • The impact of the emerging humanism in images/works of art. TIMELINE OF ITALIAN RENAISSANCE: QUATROCENTO, CINQUECENTO and early/late distinctions. The Era of Art In Elizabeth’s lecture crucifixex, she stressed the artistic representations of crucifixions as distinct from more devotional crucifixions, one of the main differences being an attention paid to the artfulness of the images as well as a break with more devotional presentations of the sacred. We are moving steadily toward the era which Hans Belting calls “the Era of Art” • Artists begin to sign their work, take credit for their work • Begin developing distinctive styles and innovate older forms (rather than copying) • A kind of ‘cult’ of artists originates with works such as Georgio Vasari one of the earliest art histories, The Lives of the Artists, which listed the great Italian artists, as well as inventing and developing the idea of the “Renaissance” Vasari’s writing serves as a kind of hagiography of -
THE FLYING HODEGETRIA the MIRACULOUS ICON AS BEARER of SACRED SPACE by Alexei Lidov
Originalveröffentlichung in: Thunø, Erik ; Wolf, Gerhard (Hrsgg.): The miraculous image in the Late Middle Ages and Renaissance. Papers from a conference held at the Accademia di Danimarca in collaboration with the Bibliotheca Hertziana (Max-Planck-Institut für Kunstgeschichte), Rome, 31 May - 2 June 2003, Rome 2004, S. 273-304 (Analecta Romana Instituti Danici : Supplementum ; 35) THE FLYING HODEGETRIA THE MIRACULOUS ICON AS BEARER OF SACRED SPACE by Alexei Lidov Even now, in contemporary Orthodox churches, one may notice a significant phenomenon at the special services in front of the miraculous icons. An icon defines the structure of a particular sacred space. Modern icons as well as their Byzantine prototypes are inseparable from the spatial context estab lished around the image. It seems important to make a clear statement that the miracle happens not inside a venerated panel but in front of the image. The icon is working as mediator, or channel of the divine energy. And the en tire miracleworking process might be described as the radiation of the holy power concentrated in a selected icon and emanating through it into a par ticular sacred environment, which has been shaped by different means. The various arts and activities whether architectural setting, iconic decoration, pictorial devices, chanting, dramaturgy of lighting, burning of incense, and numerous liturgical rituals should be considered as individual elements subordinated to the creation of a sacred space. All together, including the miraculous image itself, form a unique spatial milieu. It is noteworthy that this particular sacred space is relevant not merely to the church environment but also to any urban or natural milieu which could be temporarily made sacred through religious processions, special performances and liturgical rites. -
Images of the Mother Of
Imagesof the Mother of God Perceptionsof the Theotokos in Byzantium Editedby Maria Vassilaki ASHGATE @ The conuibutors zoo5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior permission ofthe publisher. Matia Vassilaki has assertedher moral right under the Copyright, Designsand PatentsAct, 1988, to be identified asthe Editor of this'\7ork. Published by Ashgate Publishing Ashgate Publishing Limited Company Gower House Suite 4zo Croft Road ror Cherry Street Aldershot Burlington, Hants GUr r 3HR W o54or-44o5 England USA Ashgate website: hap://www.ashgate,com Bdtish Library Cataloguing in Publication Data Imagesof the Mother of God: perceptions 'of the Theotokos in Byz:ntium r. Mary, BlessedVirgin, Saint - An z. Icons, Bfzantine 3. Byzantine Empire - Religion I. Vassilaki, Maria 7o4.9'48 55' o9 49 5' ogoz ^Ubrary of Congress Caaloging-in-Pubtcation Data Images of the Mothet of God: perceptions of the Theotokos in Byzantium / edited by Maria Vassilaki. P' cm. Includes bibliographical referencesand inds. ISBN o-7y46-36o3-8 (allc paper) r. Mary, BlessedMrgin, Saint-Devotion to-Byzantine Empire-Congresses. z. Byzantine Empire-Religious life and customs-Congresses. I. Vassilaki, Maria. II. Title. B'Í652.8,99145zoo4 z3z.9r-4czz 2OO4OOOO3r ISBN o 7546 36o3 8 Typeset in Garamond by Bookcraft Ltd, Stroud, Gloucestershire. Pdnted and bound in Great Britain by Biddles Ltd, Kings Lynn, -
Alexei Lidov Research Centre for Eastern Christian Culture, Moscow
Alexei Lidov Research Centre for Eastern Christian Culture, Moscow SPATIAL ICONS. THE MIRACULOUS PERFORMANCE WITH THE HODEGETRIA OF CONSTANTINOPLE In the present paper I will argue that the Hierotopic vision and approach may reveal a new layer of subjects never discussed before in the history of Byzantine art and culture1. It concerns iconic images created in space, or in more traditional art-historical terms, a spatial ‘iconography’ beyond pictorial schemes. The combination of certain images in a church, or one image in ritual context, could create another iconic image, not formally depicted, but made implicit in a given sacred space between or around the actual pictures. Such icon creation is connected with an important and challenging premise: in the Byzantine minds, the icon was not merely an object and a flat picture on panel or wall, but a spatial vision emanating from the depiction into the environment in front of it. The Byzantine beholder could perceive the im- ages as legitimate and recognizable icons in the space, although they were performed beyond material objects. Elsewhere I have discussed some projects of such spatial icons within the Byzantine church. It concerns the Mandylion and Keramion paradigm (fig. 1) as well as the project of spatial imagery initiated by Leo the Wise in Hagia Sophia and2. For the present paper a slightly different phenomenon has been selected — a spatial image which was created not inside the church but in the urban environment. It deals with a representative case of the Hodegetria of Constantinople and its Tuesday miraculous performance3. Among several ritu- als with miraculous icons in the capital of the Byzantine Empire this rite was undoubtedly the most important, the best known, and highly influential in the Eastern and Western traditions of the icon veneration. -
Engelina S. Smirnova Professor of Art History, Moscow State Lomonosov University Senior Research Fellow, Institute of Art Studies, Moscow, Russia
CONTEXTUALIZING SOME BYZANTINE AND RUSSIAN IMAGES OF THE MOTHER OF GOD AND SAINTS FROM THE BRITISH MUSEUM Engelina S. Smirnova Professor of Art History, Moscow State Lomonosov University Senior Research Fellow, Institute of Art Studies, Moscow, Russia Introduction Before reviewing some icons from the British Museum exhibited at the Museum of Russian Icons, Clinton, MA (see Note, page 15), let it be noted that this exhibition, of course, covers far from all the varieties of such an impressive phenomenon as Russian icon painting. Rus’ embraced Christianity in 988 through the mediation of Byzantium. The newly built Christian churches were decorated not only with mosaics and frescoes, but also, increasingly, with icons painted on wooden panels. Many Russian churches were made of wood and, for this reason, had neither mosaics nor frescoes, but only icons. Compared with other types of religious painting, it was icon painting that became especially well developed in Russia. Gradually there emerged specifically Russian varieties of icon painting, differing in many respects from the Byzantine prototypes. Figure 1. Saint John the The author will first consider the two earliest icons on display and then some images of Forerunner. 1330-1340. Byzantine icon. British the Mother of God and individual saints. Museum, BM 15. Saint John the Forerunner Despite its small size, Saint John the Forerunner (Figure 1) is the earliest icon in the exhibit and it gives an idea of many important features of Byzantine painting. Two aspects stand out. First is the exceptionally rich and intense inner life of the saint conveyed by his stern glance, knitted eyebrows, compressed mouth and the energetic outline of the right hand held in the gesture of blessing. -
Enthroned Madonna and Child C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Byzantine 13th Century (possibly from Constantinople) Byzantine 13th Century Enthroned Madonna and Child c. 1250/1275 tempera on poplar panel painted surface: 124.8 x 70.8 cm (49 1/8 x 27 7/8 in.) overall: 130.7 x 77.1 cm (51 7/16 x 30 3/8 in.) framed: 130.5 x 77 x 6 cm (51 3/8 x 30 5/16 x 2 3/8 in.) Gift of Mrs. Otto H. Kahn 1949.7.1 ENTRY The painting shows the Virgin seated on an elaborate wooden throne with openwork decoration. She supports the blessing Christ child on her left arm, according to the iconographic tradition of the Hodegetria. [1] Mary [fig. 1] is wearing a purple dress and a deep blue mantle highlighted with brilliant chrysography. Bearing a scroll in his left hand, the child [fig. 2] is wearing a red tunic fastened around his waist with a blue fabric belt supported by straps that encircle his shoulders. This motif perhaps alludes to his sacerdotal dignity. [2] In the upper corners of the panel, at the level of the Virgin’s head, are two circular medallions containing busts of archangels [fig. 3], each wearing a garment decorated with a loros and with scepter and sphere in hand. [3] Art historians have held sharply different views on not only the attribution of the painting but also its origin and even its function. Apart from Osvald Sirén’s attribution to Pietro Cavallini (1918), [4] the critical debate that developed after its first appearance at a sale in New York in 1915 (where it was cataloged under the name of Cimabue) almost always considered the painting together with Madonna Enthroned Madonna and Child 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries and Child on a Curved Throne. -
From Domestic Devotion to the Church Altar: Venerating Icons in the Late Medieval and Early Modern Adriatic
religions Article From Domestic Devotion to the Church Altar: Venerating Icons in the Late Medieval and Early Modern Adriatic Margarita Voulgaropoulou Center for Eastern Mediterranean Studies, Central European University, 1051 Budapest, Hungary; [email protected] Article From Domestic Devotion to the Church Altar: Received: 23 May 2019; Accepted: 17 June 2019; Published: 19 June 2019 Venerating Icons in the Late Medieval and Early Abstract: Although traditionally associated with Eastern Christianity, the practice of venerating icons became deeply rooted in the Catholic societies of the broad AdriaticModern region from Adriatic the Late Middle Ages onwards and was an indispensable part of everyday popular piety. The evidence Margarita Voulgaropoulou lies in the massive amount of icons located today in public and private collections throughout the Italian Peninsula, Croatia, Slovenia, and Montenegro. At a time when GreeksCenter for were Eastern branded Mediterranean as Studies, Central European University, Budapest 1051, Hungary; [email protected] “schismatics”, and although the Byzantine maniera greca had become obsolete in Western European art, icon painting managed to survive at the margins of the Renaissance, and ultimatelyReceived: 23 May went 2019; through Accepted: 17 June 2019; Published: date its own renaissance in the sixteenth century. Omnipresent in Catholic households,Abstract: iconsAlthough were traditionally very associated with Eastern Christianity, the practice of venerating often donated to churches as votive offerings and were gradually transformedicons into became the focal deeply points rooted of in the Catholic societies of the broad Adriatic region from the Late collective public devotion. Through the combined study of visual evidence,Middle archival Ages onwards records and and was an indispensable part of everyday popular piety. -
Experiencing Miraculous Icons in Byzantium the Examples of the Icon of the “Usual Miracle” and the Hodegetria in Constantinople
Sulamith Brodbeck et Anne-Orange Poilpré (dir.) Visibilité et présence de l’image dans l’espace ecclésial Byzance et Moyen Âge occidental Éditions de la Sorbonne Experiencing Miraculous Icons in Byzantium The examples of the Icon of the “Usual Miracle” and the Hodegetria in Constantinople Maria Parani DOI: 10.4000/books.psorbonne.39802 Publisher: Éditions de la Sorbonne Place of publication: Paris Year of publication: 2019 Published on OpenEdition Books: 18 December 2019 Serie: Byzantina Sorbonensia Electronic ISBN: 9791035105457 http://books.openedition.org Printed version Date of publication: 6 June 2019 Electronic reference PARANI, Maria. Experiencing Miraculous Icons in Byzantium: The examples of the Icon of the “Usual Miracle” and the Hodegetria in Constantinople In: Visibilité et présence de l’image dans l’espace ecclésial: Byzance et Moyen Âge occidental [online]. Paris: Éditions de la Sorbonne, 2019 (generated 08 janvier 2020). Available on the Internet: <http://books.openedition.org/psorbonne/39802>. ISBN: 9791035105457. DOI: 10.4000/books.psorbonne.39802. Experiencing Miraculous Icons in Byzantium: The examples of the Icon of the “Usual Miracle” and the Hodegetria in Constantinople Maria Parani The 11th century is considered by scholars of Byzantium as a period of change in devotional practices and, especially, in the way in which individuals and social groups sought to establish a more immediate, if not more personal, communication with the divine beyond the opportunities offered by participation in the institu- tionalized and controlled celebration of the liturgy. It is at this time that icons, making the invisible visible and thus directly accessible to all, appear to have acquired particular prominence as objects of private and communal devotion.1 This rising prominence is reflected, for instance, in the miniatures of the Constan- tinopolitan Theodore Psalter, dated to 1066, where numerous biblical and saintly figu es are actually shown praying to icons of Christ, placed as a rule above them.2 1. -
Icons and the Object of Pilgrimage in Middle Byzantine Constantinople Author(S): Annemarie Weyl Carr Reviewed Work(S): Source: Dumbarton Oaks Papers, Vol
Icons and the Object of Pilgrimage in Middle Byzantine Constantinople Author(s): Annemarie Weyl Carr Reviewed work(s): Source: Dumbarton Oaks Papers, Vol. 56 (2002), pp. 75-92 Published by: Dumbarton Oaks, Trustees for Harvard University Stable URL: http://www.jstor.org/stable/1291856 . Accessed: 29/02/2012 14:07 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Dumbarton Oaks, Trustees for Harvard University is collaborating with JSTOR to digitize, preserve and extend access to Dumbarton Oaks Papers. http://www.jstor.org Icons and the Object of Pilgrimage in Middle Byzantine Constantinople ANNEMARIE WEYL CARR The Diegesis of the famous icon of the Virgin of Kykkos includes a story of a painter- monk named Iakovos.' In his arduous pilgrimage to the icon of Kykkos, Iakovos is tormented by a demon of doubt that compares his own paintings with the famed icon of Kykkos. We quickly recognize in Iakovos's self-consciousness of his art the fact that he is a modern figure, an interpolation into the old Narrative. We are far slower to query his act of pilgrimage. Pilgrimage to a great icon of the Mother of God seems thoroughly Byzan- tine. -
THE Byzantine Empire Succeeded the Roman Empire in About 500 AD
Hagia Sophia in Istanbul. Photo Marion Schneider & Christoph Aistleitner. Image Wikimedia Commons HE Byzantine Empire succeeded the Byzantium (Greek: Byzantion) and the have Christian symbols on them, and TRoman Empire in about 500 AD and empire was named after it. The Byzantine from 685 AD Christ often appears on its capital was Constantinople (modern Empire lasted for almost a thousand the obverse, and from 886 AD the Virgin Istanbul). Constantine the Great founded years and a great number of Byzantine Mary makes occasional appearances. Constantinople in 330 AD, but the coins were minted. Because Christianity Collectors of Byzantine coins need to Greek city previously on the site was was the religion of the empire the coins have the book, Byzantine Coins and Figure 1 – Map of the Byzantine Empire in 1025 AD when Constantine VIII became emperor. (Source: Wikimedia Commons with thanks to Cplakides) their Values , by David Sear. Serious but it was used especially for gold coins. 1032 he was able to recover the city of collectors need Catalogue of the Byzantine In the tenth century gold coins were Edessa. (See map) Edessa had not been Coins in the Dumbarton Oaks Collection divided into two denominations: the part of the Byzantine Empire since the and in the Whittemore Collection . It is in histamenon, which meant ‘standard’ and reign of Heraclius in the 7 th century. five volumes, but some volumes are in the smaller tetarteron, which meant Back in Constantinople Romanus and two parts, so in total it consists of nine ‘quarter’ because it was lighter than the Zoe had come to hate each other.