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Profane Kleidung Im Byzantinischen Kulturbereich

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Profane Kleidung Im Byzantinischen Kulturbereich DIPLOMARBEIT Titel der Diplomarbeit „Profane Kleidung im byzantinischen Kulturbereich“ Verfasserin Martina Eichinger angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 315 Studienrichtung lt. Studienblatt: Diplomstudium Kunstgeschichte Betreuerin: Univ. Doz. Dr. Jadranka Prolovi ć IN MEMORIAM KARL EICHINGER 1949 – 2011 Vorwort ls gelernte Damen- und Herrenkleidermacherin bin ich mit verschiedenartigsten Stoffen und Schnittmustern vertraut. Natürlich sind mir Adie chemischen Eigenschaften sowie Trageeigenschaften der unterschiedlichsten Textilfasern ebenfalls bekannt. Aufgrund meiner Tätigkeit als Reiseleiterin, besonders durch meine Aufenthalte in Griechenland, bin ich in Kontakt mit der byzantinischen Kunst gekommen. Dadurch wurde mein Interesse an einem Studium der Kunstgeschichte geweckt. Nun galt es bei der vorliegenden Diplomarbeit diese beiden Interessensstränge zu einem Ganzen zu verbinden. Am Ende meines Kunstgeschichtestudiums möchte ich die Gelegenheit nützen, um dem Kollegium von Professoren, Dozenten und Lehrbeauftragten des Wiener Instituts für Kunstgeschichte, dem Institut für Byzantinistik und Neogräzistik und dem Institut für Klassische Archäologie meinen Dank für die vielfältigen und interessanten Lehrveranstaltungen aussprechen. Frau Dr. THEIS , aus dem Bereich der byzantinischen Kunstgeschichte, konnte mich für die byzantinische Architektur begeistern. Im Zuge einer Auslandsexkursion mit Frau Dr. THEIS und Frau Dr. FINGAROVA , konnte ich mein Wissen über die byzantinische Kunst vertiefen. Frau Dr. THEISEN hat im Zuge von Seminaren mein Interesse an der detailreichen Buchmalerei gesteigert und mir die Mitarbeit an ihren Forschungsarbeiten im Rahmen eines Praktikums an der Akademie der Wissenschaften ermöglicht. Frau Dr. DACHS -NICKEL hat mir die österreichische, gotische Tafelmalerei näher gebracht und für mich somit einen zweiten Interessenszweig im Bereich der Kunstgeschichte gelegt. Zu großem Dank bin ich Frau Dr. PROLOVI Ć verpflichtet, die mich durch Seminare führte und mich schließlich dazu ermunterte im Bereich der byzantinischen Kunst meine Diplomarbeit abzufassen. Sie begleitete mein Werk von Anfang an und stand mir äußerst hilfreich mit Ratschlägen und ihrem breit gefächerten Fachwissen zur Seite. Dank möchte ich an dieser Stelle auch den Herren Dr. MÜLLER , Dr. RHOBY und Dr. PREISER -KAPELLER für ihre intensiven und lehrreichen Veranstaltungen am Institut für Byzantinistik und Neogräzistik aussprechen. Großer Dank gilt auch Frau Dr. PILLINGER - 1 - vom Institut für Klassische Archäologie, die mein Interesse an frühchristlichen Themen hervorgerufen hat und mich zu einem Zweitstudium ermutigt hat. Ein ebenso großes Anliegen ist es mir, meinen Eltern, Erzsébet und Karl Eichinger und meinem Partner, Johannes Wurth, zu danken, die meine Motivation zum Studium verstanden und mich im Voranschreiten allzeit unterstützt haben. Hierbei sei insbesondere mein Vater erwähnt, der leider viel zu früh für immer von uns gegangen ist. Dankbar bin ich ihm für die vielen konstruktiven Diskussionen die wir bei meinen diversen Seminararbeiten im Laufe des Studiums geführt haben. In seinem Sinne habe ich meine verschiedenen Denkansätze kritisch betrachtet und mich erfüllt es nun mit Stolz, dass ein Teil von ihm auch in dieser Arbeit verankert ist. Ich möchte es aber auch nicht versäumen, meinen Freunden und der Tanzgruppe Meltemi für ihr Verständnis und ihre Geduld zu danken, die sie aufbrachten, als ich bei vielen ihrer Aktivitäten aufgrund universitärer Verpflichtungen nicht dabei sein konnte. Maria Enzersdorf, im Dezember 2012 Martina Eichinger - 2 - Inhaltsverzeichnis Vorwort .................................................................................................................................. 1 Einleitung .............................................................................................................................. 5 1 Forschungsstand ............................................................................................................ 6 2 Quellenberichte ............................................................................................................ 10 2.1 Prokopios von Caesarea ........................................................................................ 11 2.2 Das Eparchenbuch Leons des Weisen .................................................................. 12 2.3 Konstantin VII. Porphyrogennetos ....................................................................... 14 2.4 Liutprand von Cremona ........................................................................................ 14 2.5 Praecepta militaria ............................................................................................... 15 2.6 Pseudo-Kodinos .................................................................................................... 16 2.7 Michael Psellos ..................................................................................................... 16 2.8 Anna Komnena ..................................................................................................... 16 3 Die Entwicklung der Kleidung im Spiegel der Geschichte und das Fortbestehen der Antike in der Kleidung ........................................................................................................ 17 4 Kleidungsstücke und ihre Bezeichnungen ................................................................... 20 5 Byzantinische Textilien und Farben ............................................................................ 26 5.1 Manufakturen und Werkstätten ............................................................................ 26 5.2 Die Seide ............................................................................................................... 27 5.3 Schafwolle, Leinen (Flachs), Hanf und Baumwolle ............................................. 30 5.4 Farben ................................................................................................................... 31 5.5 Farbstoffe .............................................................................................................. 31 6 Exkurs zur stofflichen Evidenz ................................................................................... 33 6.1 Tuniken ................................................................................................................. 34 6.2 Textilfragmente der Bekleidung ........................................................................... 36 6.3 Diplomatische Geschenke ..................................................................................... 39 6.4 Kosten der Bekleidung .......................................................................................... 41 7 Die Kleidung des Volkes ............................................................................................. 42 - 3 - 7.1 Über die Dorftracht im Mittelalter ........................................................................ 45 7.2 Über die Stadttracht im Mittelalter ....................................................................... 47 7.3 Die Kleidung der Mittelschicht – mesoi ............................................................... 49 7.3.1 Die Kleidung der Männer .............................................................................. 50 7.3.1.1 Die Kleidung der Hirten, Bauern - paroikoi und Fischer ....................... 50 7.3.1.2 Die Kleidung der Handwerker ............................................................... 54 7.3.1.3 Die Kleidung der Jäger ........................................................................... 57 7.3.1.4 Die Kleidung der Soldaten ..................................................................... 61 7.4 Die Kleidung der niederen Schichten ................................................................... 68 7.4.1 Die Kleidung der Bediensteten – oiketai und Sklaven – duloi ...................... 68 7.4.2 Die Kleidung der Unterhaltungskünstler ....................................................... 71 7.4.2.1 Die Kleidung der Musiker ...................................................................... 72 7.4.2.2 Die Kleidung der TänzerInnen ............................................................... 75 7.4.2.3 Die Kleidung der Athleten und Akrobaten ............................................ 79 7.4.3 Die Kleidung der einfachen Frauen ............................................................... 82 7.4.4 Die Kleidung der Kinder ............................................................................... 88 7.4.5 Die Kleidung der Armen und Kranken.......................................................... 91 7.5 Über die Tracht der byzantinischen Aristokratie – dynatoi .................................. 95 7.5.1 Die Kleidung der Hofbeamten und der männlichen Aristokratie .................. 95 7.5.2 Die Kleidung der weiblichen Aristokratie ................................................... 115 8 Resümee .................................................................................................................... 121 9 Abstract ...................................................................................................................... 124 10 Literaturverzeichnis ................................................................................................... 126 11 Abbildungsverzeichnis .............................................................................................. 141 12 Abbildungen .............................................................................................................
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