Byzantine Palaces
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Χρονολόγηση Γεωγραφικός Εντοπισμός Great Palace In
IΔΡΥΜA ΜΕΙΖΟΝΟΣ ΕΛΛΗΝΙΣΜΟΥ Συγγραφή : Westbrook Nigel (21/12/2007) Για παραπομπή : Westbrook Nigel , "Great Palace in Constantinople", 2007, Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Κωνσταντινούπολη URL: <http://www.ehw.gr/l.aspx?id=12205> Great Palace in Constantinople Περίληψη : The Great Palace of the byzantine emperors was the first imperial palace in Constantinople. It was founded as such, supposedly by Constantine the Great, in his newly founded capital. It remained the primary imperial palace in Constantinople up to and beyond the reign of emperor Constantine VII (913-959), in whose Book of Ceremonies its halls are named. Χρονολόγηση 4th-10th c. Γεωγραφικός εντοπισμός Constantinople, Istanbul 1. Introduction The Great Palace of the Byzantine Emperors in Constantinople was the ceremonial heart of the Byzantine Empire for a millennium, and occupied a site that is now recognized as a World Heritage precinct [Fig. 1].1 The Great Palace has a high cultural and historical significance, exerting a significant influence on both Western European and Levantine palatine architecture, and forming a link between Imperial Roman and medieval palaces. It is, nonetheless, only partially understood. Its remains are largely buried under later structures, notably the Sultan Ahmet Mosque, and can only be interpreted through texts and old representations. 2. The Upper Palace, including the Daphne Palace The oldest portion of the Great Palace, the Palace of Daphne, built by Constantine the Great and his successors in the 4th and 5th centuries, was a complex that is thought to have occupied the site upon which the Sultan Ahmet, or Blue, Mosque now stands. Its immediate context comprised: the Hippodrome and adjacent palaces; the Baths of Zeuxippos; the Imperial forum or Augustaion, where Justinian I erected his equestrian statue on a monumental column in the 6th century; the churches of St. -
The Developmentof Early Imperial Dress from the Tetrachs to The
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. The Development of Early Imperial Dress from the Tetrarchs to the Herakleian Dynasty General Introduction The emperor, as head of state, was the most important and powerful individual in the land; his official portraits and to a lesser extent those of the empress were depicted throughout the realm. His image occurred most frequently on small items issued by government officials such as coins, market weights, seals, imperial standards, medallions displayed beside new consuls, and even on the inkwells of public officials. As a sign of their loyalty, his portrait sometimes appeared on the patches sown on his supporters’ garments, embossed on their shields and armour or even embellishing their jewelry. Among more expensive forms of art, the emperor’s portrait appeared in illuminated manuscripts, mosaics, and wall paintings such as murals and donor portraits. Several types of statues bore his likeness, including those worshiped as part of the imperial cult, examples erected by public 1 officials, and individual or family groupings placed in buildings, gardens and even harbours at the emperor’s personal expense. -
Arcadius 8; (Column
index INDEX 319 Arcadius 8; (column of) 184 Balat 213–14 Archaeological Museum 93ff Baldwin, Count of Flanders 15 Argonauts, myth of 259, 263, 276 Balıklı Kilisesi 197–98 Major references, in cases where many are listed, are given in bold. Numbers in italics Armenian, Armenians 25, 189, 192, Balkapanı Han 132 are picture references. 193, 241–42, 258, 278; (Cemetery) Baltalimanı 258 268; (Patriarchate) 192 Balyan family of architects 34, 161, 193; Arnavutköy 255 (burial place of) 268 A Alexander, emperor 67 Arsenal (see Tersane) Balyan, Karabet 34, 247 Abdülaziz, sultan 23, 72, 215, 251; Alexander the Great 7; (sculptures of) 96 Ashkenazi Synagogue 228 Balyan, Kirkor 34, 234 (burial place of) 117 Alexander Sarcophagus 94, 95 Astronomer, office of 42 Balyan, Nikoğos 34, 246, 247, 249, Abdülhamit I, sultan 23, 118; (burial Alexius I, emperor 13, 282 At Meydanı (see Hippodrome) 252, 255, 274, 275 place of) 43 Alexius II, emperor 14 Atatürk 24, 42, 146, 237, 248; Balyan, Sarkis 34, 83, 247, 258, 272, Abdülhamit II, sultan 23, 251, 252, Alexius III, emperor 14 (Cultural Centre) 242; (Museum) 243; 267 278; (burial place of) 117 Alexius IV, emperor 15 (statue of) 103 Bank, Ottoman 227 Abdülmecit I, sultan 71, 93, 161, 164, Alexius V, emperor 15 Atik Ali Pasha 171; (mosque of) 119 Barbarossa, pirate and admiral 152, 247; (burial place of) 162 Ali Pasha of Çorlu, külliye of 119–20 Atik Mustafa Paşa Camii 216 250, 250; (burial place of) 250; Abdülmecit II, last caliph 24 Ali Sufi, calligrapher 157, 158 Atik Sinan, architect 130, 155, 212; (ensign -
The Hagia Sophia in Its Urban Context: an Interpretation of the Transformations of an Architectural Monument with Its Changing Physical and Cultural Environment
THE HAGIA SOPHIA IN ITS URBAN CONTEXT: AN INTERPRETATION OF THE TRANSFORMATIONS OF AN ARCHITECTURAL MONUMENT WITH ITS CHANGING PHYSICAL AND CULTURAL ENVIRONMENT A Thesis Submitted to the Graduate School of Engineering and Sciences of İzmir Institute of Technology in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE in Architecture by Nazlı TARAZ August 2014 İZMİR We approve the thesis of Nazlı TARAZ Examining Committee Members: ___________________________ Assist. Prof. Dr. Zeynep AKTÜRE Department of Architecture, İzmir Institute of Technology _____________________________ Assist. Prof. Dr. Ela ÇİL SAPSAĞLAM Department of Architecture, İzmir Institute of Technology ___________________________ Dr. Çiğdem ALAS 25 August 2014 ___________________________ Assist. Prof. Dr. Zeynep AKTÜRE Supervisor, Department of Architecture, İzmir Institute of Technology ____ ___________________________ ______________________________ Assoc. Prof. Dr. Şeniz ÇIKIŞ Prof. Dr. R. Tuğrul SENGER Head of the Department of Architecture Dean of the Graduate School of Engineering and Sciences ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisor Assist.Prof.Dr.Zeynep AKTÜRE for her guidance, patience and sharing her knowledge during the entire study. This thesis could not be completed without her valuable and unique support. I would like to express my sincere thanks to my committee members Assist. Prof. Dr. Ela ÇİL SAPSAĞLAM, Dr. Çiğdem ALAS, Assoc. Prof. Dr. Erdem ERTEN and Assist. Prof. Dr. Zoltan SOMHEGYI for their invaluable comments and recommendations. I owe thanks to my sisters Yelin DEMİR, Merve KILIÇ, Nil Nadire GELİŞKAN and Banu Işıl IŞIK for not leaving me alone and encouraging me all the time. And I also thank to Seçkin YILDIRIMDEMİR who has unabled to sleep for days to help and motivate me in the hardest times of this study. -
Aspects of St Anna's Cult in Byzantium
ASPECTS OF ST ANNA’S CULT IN BYZANTIUM by EIRINI PANOU A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Centre for Byzantine, Ottoman and Modern Greek Studies Institute of Archaeology and Antiquity College of Arts and Law The University of Birmingham January 2011 Acknowledgments It is said that a PhD is a lonely work. However, this thesis, like any other one, would not have become reality without the contribution of a number of individuals and institutions. First of all of my academical mother, Leslie Brubaker, whose constant support, guidance and encouragement accompanied me through all the years of research. Of the National Scholarship Foundation of Greece ( I.K.Y.) with its financial help for the greatest part of my postgraduate studies. Of my father George, my mother Angeliki and my bother Nick for their psychological and financial support, and of my friends in Greece (Lily Athanatou, Maria Sourlatzi, Kanela Oikonomaki, Maria Lemoni) for being by my side in all my years of absence. Special thanks should also be addressed to Mary Cunningham for her comments on an early draft of this thesis and for providing me with unpublished material of her work. I would like also to express my gratitude to Marka Tomic Djuric who allowed me to use unpublished photographic material from her doctoral thesis. Special thanks should also be addressed to Kanela Oikonomaki whose expertise in Medieval Greek smoothened the translation of a number of texts, my brother Nick Panou for polishing my English, and to my colleagues (Polyvios Konis, Frouke Schrijver and Vera Andriopoulou) and my friends in Birmingham (especially Jane Myhre Trejo and Ola Pawlik) for the wonderful time we have had all these years. -
Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-1992 Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance Leon Stratikis University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Modern Languages Commons Recommended Citation Stratikis, Leon, "Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance. " PhD diss., University of Tennessee, 1992. https://trace.tennessee.edu/utk_graddiss/2521 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Leon Stratikis entitled "Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Paul Barrette, Major Professor We have read this dissertation and recommend its acceptance: James E. Shelton, Patrick Brady, Bryant Creel, Thomas Heffernan Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation by Leon Stratikis entitled Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance. -
THE IMPERIAL QUARTER to a Major Extent, the Latin Emperors Modelled
CHAPTER THREE THE IMPERIAL QUARTER To a major extent, the Latin emperors modelled their emperorship ideologically on the Byzantine example, while at the same time signifi- cant Western influences were also present. But how did they actually develop the concrete administrative organization of their empire? The constitutional pact of March 1204 established the contours within which this imperial administration was to be constructed. The starting point of the convention meant a drastic change with regard to Byzantine administrative principles. A fundamental aspect was the feudalization and the theoretical division of the Byzantine Empire into three large regions. One-quarter of the territory was allotted directly to the Latin Emperor. Three-eights were allotted to the non-Venetian and three- eights to the Venetian component of the crusading army. Both regions were to be feudally dependent upon the emperor. In this chapter we examine administrative practice in the imperial quarter. The Location of the Imperial Quarter The imperial domain encompassed five-eighths of the capital Cons- tantinople: the imperial quarter plus the non-Venetian crusaders’ sec- tion. It is true that the March 1204 agreement allotted only the Great Palace—designated as the Boukoleon palace—and the Blacherna pal- ace to the emperor, which implied that the rest of the city should have been divided up according to the established distribution formula, but in practice there is not a single indication to be found that part of the city (three-eighths) was to be allotted to the non-Venetian crusaders in the form of a separate enclave with administrative autonomy from the imperial quarter.1 Apparently, the definitive distribution agree- ment stipulated that five-eighths of Constantinople was to fall to the emperor or, de facto, this was the situation there.2 1 Prevenier, De oorkonden, II, no 267. -
I Ntroduction
Cambridge University Press 978-0-521-77257-0 - Byzantine Monuments of Istanbul John Freely and Ahmet S. Cakmak Excerpt More information _ I NTRODUCTION his is the story of the Byzantine monuments of Istanbul, the city known to Tthe Greeks as Constantinople, the ancient Byzantium. Constantinople was, for more than a thousand years, capital of the Byzantine Empire, which in its earlier period, from the fourth to the sixth century,was synonomous with the Roman Empire. During those centuries, the religion of the empire changed from pagan to Christian and its language from Latin to Greek, giving rise to the cul- ture that in later times was called Byzantine, from the ancient name of its capital. As the great churchman Gennadius was to say in the mid-fifteenth century,when the empire had come to an end,“Though I am a Hellene by speech yet I would never say that I was a Hellene, for I do not believe as Hellenes believe. I should like to take my name from my faith, and if anyone asks me what I am, I answer, ‘A Christian.’Though my father dwelt in Thessaly, I do not call myself a Thes- salian, but a Byzantine, for I am of Byzantium.”1 The surviving Byzantine monuments of Istanbul include more than a score of churches, most notably Hagia Sophia. Other extant monuments include the great land walls of the city and fragments of its sea walls; the remains of two or three palaces; a fortified port; three commemorative columns and the base of a fourth; two huge subterranean cisterns and several smaller ones; three enormous reservoirs; an aqueduct; a number of fragmentary ruins; and part of the Hippo- drome, the city’s oldest monument and the only one that can surely be assigned to ancient Byzantium. -
The Conception and Articulation of Urban Space in Constantinople
The Conception and Articulation of Urban Space in Constantinople Paul Magdalino Patria (995) I. The city-plan of Constantine – New walls, churches, baths – Forum with porphyry column, triumphal arches, Senate House – Hag.Eirene, Holy Apostles, Hag. Sophia, St Agathonikos, St Akakios – Palace complex (17 units) – Hippodrome – Houses for 12 senators – 4 emboloi emanating from the Palace, with domed vaults and paved terraces – Aqueducts and sewers – Palaces for 3 sons (walls of Theodosius II) II. Statues (Constantine) III. Buildings (from Constantine to the present) Patria I 68, ed. Preger, Scriptores, 148 He also built four porticoes (emboloi), with domed masonry vaults, from the palace as far as the land walls. One began from the Tykanisterion and (by way of) the Mangana and the Acropolis and ta Eugeniou went as far as St Anthony's; another, from the Daphne and the (harbour of) Sophiai, as far as Rabdos. The other two porticoes (went from) the Chalke and the Milion and the Forum as far as the Bull and the Ox and the Exokionion. Above the porticoes were terraces paved with stone slabs and innumerable bronze statues for the city's adornment. He also built the cisterns and brought the aqueducts from Bulgaria; in addition, he made deep, stone-built channels throughout the whole city, as deep as the porticoes were tall, so that there would be no foul smells and spread of diseases, but the foul smelling matter would drain away into the depths and pass down to the sea. Constantine the Rhodian Ekphrasis of the Seven Wonders of Constantinople and the Church of the Holy Apostles (945-959) • Splendid churches • Long vaulted stoai • Tall columns • The Seven Wondersσφαιροσυνθέταις (columns of Justinian, στέγαις Constantine, Staurion, Theodosius, Arcadius + Senate House and Anemodoulion) • Statues in the Forum, Hippodrome, Strategion and the streets • Hagia Sophia and Holy Apostles • What the traveller sees approaching the city: – Towers – Columns like giants – Houses ( – Lofty churches δόμους) Theodore Prodromos Farewell to Constantinople (c. -
Middle Byzantine Aesthetics and the Incomparability of Islamic
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2010 Middle Byzantine Aesthetics and the Incomparability of Islamic Art: The Architectural Ekphraseis of Nikolaos Mesarites Alicia Walker Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Custom Citation Alicia Walker, "Middle Byzantine Aesthetics and the Incomparability of Islamic Art: The Architectural Ekphraseis of Nikolaos Mesarites," Muqarnas 27 (2010): 79-101. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/57 For more information, please contact [email protected]. ALICIA WALKER MIDDLE BYZANTINE AESTHETICS OF POWER AND THE INCOMPARABILITY OF ISLAMIC ART: THE ARCHITECTURAL EKPHRASEIS OF NIKOLAOS MESARITES An early thirteenth-century historical treatise, The between churches and this building, or between sacred Palace Revolt of John Komnenos by Nikolaos Mesa and imperial icons and the images on the ceiling ofthe rites, an author of the middle Byzantine period (ca. Mouchroutas. Rather, these juxtapositions were con 843-1204), contains a passage that briefly describes an structed by Mesarites and indicate his reception of, not Islamic-style building, the Mouchroutas, which was part the original intentions behind, the Islamicizing work of of the imperial palace complex in Constantinople (see art. Appendix).l The author emphatically states that the Nikolaos Mesarites (d. ca. 1214) was a Byzantine structure was the work of "a Persian hand," that is to courtier from a prominent family. -
Where Istanbul's Heart Beats Istanbul by GRESI SANJE* Illustrations ERGUN GUNDUZ -ULTAN^Hmer /Vteydanl'wn
Where Istanbul's heart beats Istanbul By GRESI SANJE* Illustrations ERGUN GUNDUZ -ULTAN^HMEr /VteyDANl'wN . BiZANï» DÔN6/HÎ HlRiDKOM MAU O lVlLi TA y l At-? lA AVAloc yA -/A b aaAn YUZÙ < Æ > M.fe-324 6 - ^ w ^ % çok büyük sarnıç inşa ettirmiş. Bazilika Sarnıcı 6. yüzyılda İmparator Jüstinyen ta rafından yaptırılmış. Osmanlılar ise şehre yerleştikten tam yüzyıl sonra bu sarnıcı fark etmiş, sonra da bahçe sulamada kul lanmışlar. Ben bütün bunları Ergiin’e anla tırken, o benim yerime kapanışı yapıverdi. Efendim, eskiden bu sarnıç bir sandalla gezilirmiş, üzerinde yürüdüğümüz bu yol lar ise ancak 1980’lerde yapılmış. Çıkışta sağda duran Milion Taşı takıldı gözüme. Doğu Roma İmparatorluğu zamanında bu nokta dünyanın merkezi olarak kabul edi lir ve tüm yollar bu merkezden ölçülür müş. Ne güzelmiş! Dünyanın merkezi so rununu kökünden çözümlemişler diye dü şünürken, Bizans’ın Hipodromu, Osman lI’nın At Meydanı, benim içinse Sultanah met Meydanı olan alana vardık bile. Bizans’ın Hipodromu, halkın imparatorla tek yerdi. MSı .196 yılında Septi- tarafından uriŞasınmJjaşlanan inen bitişi- / Öylesine gizemli, öylesine çekici bir şehir ki İstan Istanb ul is a city of such mystique and bul, ona kapılmamak, bağlanmamak mümkün de magnetism that it is impossible not to ğil. Ben İstanbul’u lezzetli, ama büyülü bir meyve be captivated by it. Ergün's illustrations ye benzetiyorum. Ergün’ün İstanbul’u ise fazlasıyla reflect this charm with a magic o f their cazibeli, bir o kadar da zeki bir Harem gözdesi gi own. Both o f us believe that the city is bi. İkimiz de bu şehrin yavaşça ve hissettirmeden gradually and insensibly habit-forming, bağımlılık yaratıp, kendini vazgeçilmez kıldığına i- making life without Istanbul inconceiv nanıyoruz. -
Balicka-Witakowska Constantinople.Pdf
The Urban Mind Cultural and Environmental Dynamics Edited by Paul J.J. Sinclair, Gullög Nordquist, Frands Herschend and Christian Isendahl African and Comparative Archaeology Department of Archaeology and Ancient History Uppsala University, Uppsala, Sweden 2010 Cover: NMH THC 9113 Artist: Cornelius Loos Panorama over the southern side of Istanbul facing north east. Produced in 1710. Pen and brush drawing with black ink, grey wash, water colour on paper. The illustration is composed of nine separate sheets joined together and glued on woven material. Original retouching glued along the whole length of the illustration. Dimensions (h x b) 28,7 x 316 cm Photograph © Erik Cornelius / Nationalmuseum English revised by Laura Wrang. References and technical coordination by Elisabet Green. Layout: Göran Wallby, Publishing and Graphic Services, Uppsala university. ISSN 1651-1255 ISBN 978-91-506-2175-4 Studies in Global Archaeology 15 Series editor: Paul J.J. Sinclair. Editors: Paul J.J. Sinclair, Gullög Nordquist, Frands Herschend and Christian Isendahl. Published and distributed by African and Comparative Archaeology, Department of Archaeology and Ancient History, Uppsala University, Box 626, S-751 26 Uppsala. Printed in Sweden by Edita Västra Aros AB, Västerås 2010 – a climate neutral company. 341 009 Trycksak 13. Constantinople in the Transition from Late Antiquity to the Middle Ages Ewa Balicka-Witakowska Contact details Dr Ewa Balicka-Witakowska Department of Linguistics and Philology Byzantine Studies Uppsala University Box 635 751 26 Uppsala, Sweden <\\\¬<< ABSTRACT This chapter gives an overview of the transformations which took place in Constantinople from the time of its foundation in the early 4th century as a Late Antique metropolis and $#$#Áth century when it was changed to a medieval town, perhaps less splendid in some respects but well adapted to new geopolitical and economic circumstances and still the centre of imperial power.