Byzantine Art and Architecture
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Page | 1 Page | 2 Academic Programs Offered 1. BS Graphic Design 2. BS Textile Design 3. BS Fine Arts 4. BS Interior Design 5. MA Fine Arts 6. Diploma in Fashion Design 7. Diploma in Painting BS Graphic Design Eligibility: At least 45% marks in intermediate (FA/FSC) or equivalent, the candidate has to pass with 45% passing marks. Duration: 04 Year Program (08 Semesters) Degree Requirements: 139 Credit Hours Semester-1 Course Code Course Title Credit Hours URCE- 5101 Grammar 3(3+0) URCP- 5106 Pakistan Studies 2(2+0) GRAD-5101 Calligraphy-I 3(0+3) GRAD-5102 Basic Design-I 3(0+3) GRAD-5103 Drawing-I 3(0+3) URCI-5109 Introduction to Information & Communication 3(2+1) Technologies Semester-2 URCE- 5102 Language Comprehension & Presentation Skills 3(3+0) URCI- 5105 Islamic Studies 2(2+0) GRAD-5105 Calligraphy-II 3(0+3) GRAD-5106 Basic Design-II 3(0+3) URCM-5107 Mathematics (Geometry and Drafting) 3(3+0) GRAD-5107 Drawing-II 3(0+3) Semester-3 URCE- 5103 Academic Writing 3(3+0) GRAD-5108 History of Art 3(3+0) GRAD-5109 Drawing-III 3(0+3) GRAD-5110 Graphic Design-I 3(0+3) GRAD-5111 Photography-I 3(0+3) GRAD-5112 Communication Design 3(0+3) URCC-5110 Citizenship Education and Community Engagement 3(1+2) Semester-4 URCE- 5104 Introduction to English Literature 3(3+0) Page | 3 GRAD-5113 Fundamental of Typography 2(0+2) GRAD-5114 History of Graphic Design-I 3(3+0) GRAD-5115 Graphic Design-II 3(0+3) GRAD-5116 Photography-II 3(0+3) GRAD-5117 Techniques of Printing 2(1+1) Semester-5 GRAD-6118 History of Graphic Design-II 3(3+0) GRAD-6119 Graphic Design-III -
L 'Évolution Politique De Galia Placidia
L ‘évolution politique de Galia Placidia EMILLENNE DEMOUGEOT GalIa Placidia, impératrice d’Occident de 425 á sa mort en 450, eut-elle une politique soumise aux événemcnts ou déterminée par quelque dessein délibéré, pendant ce quart de siécle oú régna son flís Valentinien III? Ses biographes, Vito Antonio Sirago en 1961 et Stewart Irwin Oost en 1968, ainsi que Giuseppe Zecchini qui a récemment étudié la défense de l’Occident au temps d’Aetius1 constatent que la vie personnelle dc GalIa Placidia nous échappe et que seule son activité politique nous permet d’appréhender sa personnalité. Or, á l’époque de Justinien, Cassiodore, Procope et l’historien des Goths Jordanes, suivis par l’historicn ecclésiastique Evagre le Scholasti- que (mort vers 600) et Jean d’Antioche au Vílos., imputent á la politique de GalIa Placidia, plus ou moins explicitement, le rapide déclin de l’Empire d’Occident aussitót aprés la mort de son flís Valentinien III. Cette imputation apparait-elle déjá au V0 siécle? Vers la fin du y0 siécle, elle n’apparatt pas dans l’Histoire Nouvelle de Zosime qui traite du déclin de l’Empire chrétien sous les empereurs du IVos., mais s’arr&te á la veille de la prise de Rome par les Wisigoths en 410. Dc méme, elle n’apparait pas, dans la premiére moitié du y0 siécle, chez les historiens contcmporains de GalIa Placidia, tels Orose, Olympiodore et l’historien ecclésiastique Socr~te, ni chez les chroniqueurs occidentaux comme l’Espagnol Hydace, Prosper d’Aquitai- nc et l’Anonyme d’unc Chronica Gallica allant jusqu’en 452, ni encore, au début du V0 siécle, chez le poéte Claudien. -
Ornament As Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100)
Ornament as Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100) by Anna Bücheler A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Anna Bücheler 2014 Ornament as Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100) Anna Bücheler Doctor of Philosophy Department of Art University of Toronto 2014 Abstract This dissertation explores notions of ornamentation and issues of materiality in early and high medieval manuscript illumination. Focusing on ornament that evokes the weave patterns of Byzantine and Islamic silk in tenth and eleventh century manuscripts from Echternach, Einsiedeln, Reichenau, and elsewhere, this study argues that—in specific contexts—ornament has meaning and serves functions that go beyond mere decoration. The dissertation contextualizes so-called textile pages in the codicological and iconographic structure of the manuscripts in which they appear and examines them in light of exegetical texts that discuss the function and metaphoric meaning of matter in religious art. After the first chapter clarifies the formal relationship between medieval textiles and textile ornament, the subsequent chapters bring the ornamental images together with various textile metaphors. From such a reading of textile iconography emerge three major strands of meaning: the notion of scripture as a veil of revelation, the Incarnation as a symbolic garment, and textile-ornamented manuscripts as the corporeal book-bodies of scripture. In addition to an investigation of the allegorical meaning of textile ornament, a discussion of the function of physical matter in private meditation and the ii liturgy opens new perspectives on the utility and necessity of physical props for contemplative and liturgical purposes in medieval worship. -
The Neonian Baptistery in Ravenna 359
Ritual and ReconstructedMeaning: The Neonian Baptisteryin Ravenna Annabel Jane Wharton The pre-modern work of art, which gained authority through its extension in ritual action, could function as a social integrator. This essay investigates the figural decoration of the Orthodox Baptistery in Ravenna, in an effort to explain certain features of the mosaic program. If the initiation ritual is reenacted and the civic centrality of the rite and its executant, the bishop, is restored, the apparent "icon- ographic mistakes" in the mosaics reveal themselves as signs of the mimetic re- sponsiveness of the icon. By acknowledging their unmediated character, it may be possible to re-empower both pre-modern images and our own interpretative strategy. The Neonian (or "Orthodox") Baptistery in Ravenna is the preciated, despite the sizable secondary literature generated most impressive baptistery to survive from the Early Chris- by the monument. Because the artistic achievement of the tian period (Figs. 1-5).1 It is a construction of the late fourth Neonian Baptistery lies in its eloquent embodiment of a or early fifth century, set to the north of the basilican ca- new participatory functioning of art, a deeper comprehen- thedral of Bishop Ursus (3897-96?) (Fig. 1).2 The whole of sion of the monument is possible only through a more thor- the ecclesiastical complex, including both the five-aisled ba- ough understanding of its liturgical and social context. The silica and the niched, octagonal baptistery, appears to have first section of this essay therefore attempts to reconstruct been modeled after a similar complex built in the late fourth the baptismal liturgy as it may have taken place in the century in Milan.3 Within two or three generations of its Neonian Baptistery. -
“Cathedral-Style” Churches
“Cathedral-Style” Churches After the turn of the century, Ukrainian congregations often grew to a size where their small church buildings were impractical. The years from about 1920 to 1940 thus witnessed the construction of many large Ukrainian churches in Manitoba. These were no longer simple log or light wood frame structures like those built by the early settlers. The new churches were more elaborate structures, larger in scale and often more sophisticated in ornamentation; similar in conception to the large Ukrainian Baroque churches like the restored St. Sophia in Kiev, the Church of the Holy Trinity and the Chapel of the Three Saints. Although not technically cathedrals – which are the seats of bishops – these churches are so extraordinary, especially in a rural landscape, that they are frequently called “prairie cathedrals.” Considering the modest nature of the log or wood frame churches examined previously in this study, the large churches designed for Ukrainian Catholic and Ukrainian Orthodox congregations in Manitoba during the 1920s, 30s, 40, and 50s are remarkable. Foremost among these are the Ukrainian Catholic churches designed by Father Philip Ruh. His designs for “cathedral‐style” churches adorn the countryside outside Manitoba from Edmonton, Alberta to St. Catharineʹs, Ontario. Research to date attributes 33 structures to this amazing man. Ruh’s influence also spread to other communities in less direct ways. He was often called upon by various congregations to discuss the designs for new churches and the two main contractors working for Ruh relied on his designs for the churches they built without his supervision. Ruh was prolific and his designs influential. -
Period of Recognition Part 1 Constantine's Basilicas
The Period of Recognition AD 313—476 Surely one of the most important events in history must be the so called Edict of Milan (313), a concordat really, between Constantine in the 2 Western half of the Empire and his co-emperor in the East, Licinius, that recognized all existing religions in the Roman Empire at the time, most especially Christianity, and extended to all of them the freedom of open, public practice. Equally important, subsequently, was Constantine’s pri- vate, yet imperial, patronage of the Christian church. Also, sixty years later, in 390, the emperor Theodosius would declare Christianity the offi- cial religion of the Roman Empire and followers of the ancient pagan rites, criminals. The pagans were soon subjected to the same repression as Christians had been, save violent widespread persecution. The perse- cuted had become the persecutors . Within another hundred years (in 476) the political Empire in the West would collapse and the Christian church would become the sole unifying cultural force among a collection of bar- barian kingdoms. Christianity would go on to dominate the society of Western Europe for the next thousand years. Thus the three sources from which modern Europe sprang were tapped: Greece, Rome, and Christian- ity. Constantine’s Christianity Constantine attributed his defeat of rival Maxentius for the emperorship of the Roman Empire in the 63 The Battle at the Milvian West to the God of the Chris- Bridge tians. He had had a dream or <www.heritage-history.com/www/ heritage.php?R_m... > vision in which his mother’s Christian God told him that he would be victorious if he marched his army under the Christian symbol of the chi rho , the monogram for the name of Jesus Christ. -
Martyred for the Church
Wissenschaftliche Untersuchungen zum Neuen Testament · 2. Reihe Herausgeber / Editor Jörg Frey (Zürich) Mitherausgeber/Associate Editors Markus Bockmuehl (Oxford) · James A. Kelhoffer (Uppsala) Tobias Nicklas (Regensburg) · J. Ross Wagner (Durham, NC) 471 Justin Buol Martyred for the Church Memorializations of the Effective Deaths of Bishop Martyrs in the Second Century CE Mohr Siebeck Justin Buol, born 1983; 2005 BA in Biblical and Theological Studies, Bethel University; 2007 MA in New Testament, Trinity Evangelical Divinity School; 2009 MA in Classical and Near Eastern Studies, University of Minnesota; 2017 PhD in Christianity and Judaism in Antiquity, University of Notre Dame; currently an adjunct professor at Bethel University. ISBN 978-3-16-156389-8 / eISBN 978-3-16-156390-4 DOI 10.1628/978-3-16-156390-4 ISSN 0340-9570 / eISSN 2568-7484 (Wissenschaftliche Untersuchungen zum Neuen Testament, 2. Reihe) The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2018 Mohr Siebeck Tübingen, Germany. www.mohrsiebeck.com This book may not be reproduced, in whole or in part, in any form (beyond that permitted by copyright law) without the publisher’s written permission. This applies particularly to repro- ductions, translations and storage and processing in electronic systems. The book was printed by Laupp & Göbel in Gomaringen on non-aging paper and bound by Buchbinderei Nädele in Nehren. Printed in Germany. Preface This monograph represents a revised version of my doctoral dissertation. It has been updated to take into account additional scholarly literature, bring in new argumentation, and shorten some sections for relevance. -
Iconoclasm: a Christian Dilemma
ICONOCLASM: A CHRISTIAN DILEMMA - A BYZANTINE CONTROVERSY By STEPHEN CHARLES STEACY •• Bachelor of Arts Oklahoma State University Stillwater, Oklahoma 1969 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS December, 1978 ICONOCLASM: A CHRISTIAN DILEMMA - A BYZANTINE CONTROVERSY Thesis Approved: '. ~- Dean of the Graduate College 1019541 ii P~F~E This thesis is concerned with Iconoclasm, the religious upheaval which troubled the Byzantine conscience for over a century. There have been numerous theories adduced by his torians to account for this phenomenon. It is the purpose of this study to view the varying interpretations, analyze their shortcomings, and to put forth a different view of the controversy, one that more adequately expresses the deeply rooted religious nature of the movement, a movement not only of the eighth and ninth centuries but an idea which was nurtured in fertile soil of the Old Testament and Apostolic Christianity. The author wishes to express heartfelt appreciation to his thesis adviser, Dr. George Jewsbury, whose unflagging solicitude, support, and inspiration were instrumental in the preparation of this work. A note of thanks is given to Mrs. Karen Hoyer, whose typing expertise, in the final analysis, made the difference between success and failure. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION AND HISTORIOGRAPHICAL ESSAY 1 II. THEOLOGICAL AND PHILOSOPHICAL COURSES OF THE CONTROVERSY. • • . • . • • . • . 13 Genesis of the Cult of Icons .•.• 13 The Scriptures as the Foundation of Iconoclasm. 26 Precursors of ·the Iconoclast Movement . 30 Origen . 31 Eusebius . -
8 Heaven on Earth
Heaven on Earth The Eastern part of the Roman empire from the mid 5 th century to the mid 15 th century is referred to as the Byzantine Empire [62] but that term 8 would not have meant anything to the people living either in the Eastern or the Western parts of the Roman Empire at the time. The residents of the East thought of them- 62 selves as “Romans” as Map of the maximum extent much as the residents of of the Byzantine Empire (edited map: xenohistorian.faithweb.com/ the West did. In fact, Con- europe/eu08.html ) stantine the Great had The Byzantine Empire expanded moved the capital of the and contracted many times from Roman Empire in 330 476, when the last emperor of the from “old” Rome in the Western Roman Empire abdi- West to what he called cated, until its demise in 1453. The “New” Rome ( Nova map gives us some idea of the core of the Byzantine Empire’s Roma ) in the East. There political and cultural influence. was already a city in the new location, Byzantion, and that is where the term Byzantine comes from. The name Constantinople was given to the new capital after the death of Constantine. Constantinople grew in power, cultural, and diplo- matic influence while old Rome was repeatedly plundered by barbarians. By the end of the 5 th century the Western Roman Empire was out of busi- ness. So it was that the citizens in the East saw themselves as simply the continuation of the Roman Empire. We call that remnant of the old em- pire in the east, Byzantium, in recognition of the changed political situa- tion centered on Constantinople between 476 and 1453. -
The Medieval Heritage of Philadelphia's Sacred Windows
Swarthmore College Works Art & Art History Faculty Works Art & Art History 2002 "The Recollection Of The Past Is The Promise Of The Future": The Medieval Heritage Of Philadelphia's Sacred Windows Michael Watt Cothren Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-art Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Let us know how access to these works benefits ouy Recommended Citation Michael Watt Cothren. (2002). ""The Recollection Of The Past Is The Promise Of The Future": The Medieval Heritage Of Philadelphia's Sacred Windows". Stained Glass In Catholic Philadelphia. 9-25. https://works.swarthmore.edu/fac-art/111 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Art & Art History Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. “The Recollection of the Past IS THE Promise of the Future”* The Medieval Heritage of Philadelphia’s Sacred Windows Michael W. Cothren Arise, shine; for your light has come, and the glory of the Lord has risen upon you. For darkness shall cover the earth, and thick darkness the peoples; but the Lord will arise upon you, and his glory will appear over you. Nations shall come to your light, and kings to the brightness of your dawn. Isaiah 60:1-3^ And nowhere in our civilized world could we be more splendidly made aware of this light than in buildings where worshipers are surrounded by stained glass. In Philadelphia’s Catholic churches we are accustomed to gathering beneath constellations of glowing pictures projected from brilliantly fdtered colored light. -
Anglo-Saxon Sculpture and Rome: Perspectives and Interpretations
258 CHAPTER 6 Anglo-Saxon Sculpture and Rome: Perspectives and Interpretations Having seen the many and varied ways in which early Christian Anglo-Saxon architecture could articulate ideas of 'Rome', this chapter will turn to review the other public art form of the Anglo-Saxon landscape, the stone sculpture, to consider also its relationship with concepts of ‘Romanness’. This is an aspect that has emerged – more or less tangentially – from other scholarly analyses of the material, but it has not been used as a common denominator to interpret and understand Anglo-Saxon sculpture in its own right. In the course of the twentieth century, scholars from different disciplines have developed research questions often strictly related to their own circumstantial agendas or concerns when discussing this kind of material, and this has tended to affect and limit the information that could be gained. It is only recently that some more interdisciplinary approaches have been suggested which provide a fuller understanding of the artistic and cultural achievement conveyed through Anglo-Saxon sculpture. 6.1 The scholarship 6.1 a) Typology and Style1 Any discussion of Anglo-Saxon sculpture opens with an account of the work of W.G. Collingwood (1854-1932) 2 and the impact that it has had on the development of subsequent studies.3 As such, he is generally considered to have 1 For a recent and full discussion on the subject see the forthcoming work by A. Denton, An Anglo-Saxon Theory of Style: motif, mode and meaning in the art of eighth-century Northumbria (PhD, York, 2011); I am grateful to her for the chance of reading and discussing her work. -
The Cambridge Companion to Age of Constantine.Pdf
The Cambridge Companion to THE AGE OF CONSTANTINE S The Cambridge Companion to the Age of Constantine offers students a com- prehensive one-volume introduction to this pivotal emperor and his times. Richly illustrated and designed as a readable survey accessible to all audiences, it also achieves a level of scholarly sophistication and a freshness of interpretation that will be welcomed by the experts. The volume is divided into five sections that examine political history, reli- gion, social and economic history, art, and foreign relations during the reign of Constantine, a ruler who gains in importance because he steered the Roman Empire on a course parallel with his own personal develop- ment. Each chapter examines the intimate interplay between emperor and empire and between a powerful personality and his world. Collec- tively, the chapters show how both were mutually affected in ways that shaped the world of late antiquity and even affect our own world today. Noel Lenski is Associate Professor of Classics at the University of Colorado, Boulder. A specialist in the history of late antiquity, he is the author of numerous articles on military, political, cultural, and social history and the monograph Failure of Empire: Valens and the Roman State in the Fourth Century ad. Cambridge Collections Online © Cambridge University Press, 2007 Cambridge Collections Online © Cambridge University Press, 2007 The Cambridge Companion to THE AGE OF CONSTANTINE S Edited by Noel Lenski University of Colorado Cambridge Collections Online © Cambridge University Press, 2007 cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao˜ Paulo Cambridge University Press 40 West 20th Street, New York, ny 10011-4211, usa www.cambridge.org Information on this title: www.cambridge.org/9780521818384 c Cambridge University Press 2006 This publication is in copyright.