A Brief Introduction to the Byzantine Portrait
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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 -
The Great Church of Constantinople: History, Architecture and Liturgical Challenges
The Great Church of Constantinople: History, Architecture and Liturgical Challenges Presentation at the New Skete Monastery, August 13, 2006 This presentation is a humble offering to the communities of New Skete and to all who have gathered here. Today 40 years of Christian witness are being remembered. The lives of both the living and departed have brought us together. Lives immersed in prayer, work and study have witnessed and now witness to the need for all to be one with God and each other. I: History The basilica of Hagia Sophia built by emperor Justinian (527-65) follows two earlier structures of the same name located more or less on the same site. The first was completed and dedicated in 360 during the reign of Constantius. This church was greatly damaged by a fire most likely caused by arsonists protesting the banishment of St. John Chrysostom in 404. The second Hagia Sophia built under emperor Theodosius II is rededicated in 415. This church building was again severely damaged by another fire during the NIKA riot of January 532.[1] Leading up to the riot were political i.e. dynastic, religious and social conflicts. During this time there were two rival factions each loyal to its own Christology. These factions also competed with each other in the events of the hippodrome and were known by their respective colors. Thus, those faithful to the Council of Chalcedon (451) were the Blues and those opposed to Chalcedon were known as the Greens. For a brief time Blues and Greens banned together forming a political bloc to oppose Justinian. -
Byzantine Art and Architecture
Byzantine Art and Architecture Thesis The development of early Christian religion had a significant impact on western art after the fall of the Roman Empire in the 4th century (AD). Through examining various works of art and architecture, it becomes evident that the period of Byzantium marked a significant transition in aesthetic conventions which had a previous focus on Roman elements. As this research entails, the period of Byzantium acted as a link between the periods of Antiquity and the Middle Ages and thus provides insight on the impact of Christianity and its prevalence in art and architecture during this vast historical period. Sources/Limitations of Study Primary Sources: Adams, Laurie Schneider. Art Across Time. McGrawHill: New York, 2007. Figures: 8.4 Early Christian sarcophagus, Santa Maria Antiqua, Rome, 4th century. Marble. 8.5 Plan of Old Saint Peter’s basilica, Rome, 333390. 8.6 Reconstruction diagram of the nave of Old Saint Peter’s Basilica. 8.12 Exterior of the mausoleum of Galla Placidia, Ravenna, c. 425426. 8.13 Interior of the mausoleum of Galla Placidia showing niche with two apostles (above) and the Saint Lawrence mosaic (below), Ravenna, c. 425426. 8.14 Christ as the Good Shepherd, the mausoleum of Galla Placidia, Ravenna, c. 425 426. Mosaic. 8.28 Hagia Sophia, Constantinople (now Instanbul), illuminated at night, completed 537. 8.29 Plan, section, and axonometric projection of Hagia Sophia. 8.30 View of the interior of Hagia Sophia after its conversion to a mosque. Colour lithograph by Louis Haghe, from an original drawing by Chevalier Caspar Fussati. -
Vol. Xii. 2014. Full Text
SERIES BYZANTINA Virgin Mary; glassware decoration, from catacombs in Rome, 4th c. AD; N. P. Kondakov, Ikonografi a Bogomateri, St. Petersburg 1914, p. 77 SERIES BYZANTINA Studies on Byzantine and Post -Byzantine Art VOLUME XII POLISH INSTITUTE OF WORLD ART STUDIES CARDINAL STEFAN WYSZYŃSKI UNIVERSITY Warsaw 2014 EDITOR: Waldemar Deluga EDITORIAL BOARD: Anca Bratuleanu, Bucharest Viktoria Bulgakova, Berlin Ana Dumitran, Alba Iulia Mat Immerzeel, Amsterdam Michał Janocha (chairman), Warsaw Catherine Jolivet-Levy, Paris Alina Kondratjuk, Kiev Magdalena Łaptaś, Warsaw Jerzy Malinowski, Warsaw Márta Nagy, Debrecen Daniela Rywikova, Ostrava Athanassios Semoglou, Thessaloniki Tania Tribe, London Natasha Tryfanava, Minsk ADMINISTRATOR: Dominika Macios WEBMASTER: Rafał Zapłata EDITORIAL ADDRESS: Institut of History of Art Cardinal Stefan Wyszyński University ul. Wóycickiego 1/3 PL 01-938 Warszawa [email protected] Revised by Nicholas Barber, Anette and Denis Morin Cover design, typhographic project, illustrations editing and typesetting by Paweł Wróblewski Continuation of the series published by the NERITON Publishing House The issue subsidized by the Ministry of Science and Higher Education (Program „Index Plus”) © Copyright by Waldemar Deluga ISSN 1733–5787 Printed by Sowa - Druk na Życzenie www.sowadruk.pl tel. (48 22) 431 81 40 Edition of 400 copies Contents Introduction (Waldemar Deluga).................................................................................................7 Agnieszka Gronek, Eschatological elements in the schemes of -
Giotto and the Early Italian Resistance Dr Valerie Shrimplin 16 February
Giotto and the Early Italian Resistance Dr Valerie Shrimplin 16 February 2021 Olive groves and cypress trees, pageants and festivals, peasants and popes, kings and princes, plotting and poisonings, magnificent palaces and highly painted churches – the Medici, Michelangelo and Machiavelli - are the exciting images aroused by the term Italian Renaissance. The Renaissance was a period of exceptional growth and change - culturally, intellectually, economically and politically – that was reflected in the art and architecture of the time. This overview of Early Renaissance art will focus on painting but also touch on architecture and sculpture where relevant. Consideration of artworks, from early Italo-Byzantine examples to the late Trecento (1300s, ie 14th century), will convey the ‘Spirit of the Age’ and its relevance for future art and architecture. Discussion of the content, style and form of early Renaissance painting, as well as religious, classical and and philosophical writings, will demonstrate the importance of the classical tradition and its revival in Renaissance Italy. Well-known examples will be referenced throughout, using images that are accessible in art galleries, such as the Renaissance collection in the Sainsbury wing at the National Gallery (NG), The Victoria & Albert Museum (V&A) and major European galleries and venues in Florence (Uffizi, UF), Milan, Rome, Venice etc (and also on the internet). The Purpose of Art History: Why Study History of Art? Firstly, however, it is relevant to consider the study of history of art in general, after which the ‘Proto-Renaissance’ and the different styles and approaches by Giotto, his predecessors and successors, can be considered. The History of Art enables increased understanding of art works, helping us ‘to see’ rather than just ‘to look.’ The artistic elements are crucial: to consider style, form and materials, but the context and time and place of creation can also be vital for understanding a work’s deeper meaning. -
Attributing the Zvenigorodsky Chin
DISCOVERIES Attributing the Zvenigorodsky Chin Levon Nersesyan talks with Oxana Golovko Translated by Vera Winn Artistic Technique were moving backward and forward. Note: On June 26, In the latter case, the final image 2017, the State Levon, tell us how you discovered rarely corresponds with the prepara- Tretyakov Gallery in Moscow held a that the Zvenigorodsky Chin was tory drawings, and there are quite a press conference on not painted by Andrei Rublev. few corrections even in the prepara- the authorship of the tory drawing itself. It is obvious that Zvenigorodskiy Chin, a A difference in painting technique the first master was accustomed to famous depiction of the Deisis (suppli- between the Zvenigorodsky Chin and working out all the details clearly and cation) featuring the the Holy Trinity is clearly visible with- neatly from the very beginning, while Archangel Michael, out the use of any scientific devices, the second created a rough sketch Christ, and St. Paul. but before we drew any conclusions, and then modified the form of the im- This triptych was long attributed to the it was necessary to analyze the tech- age in the process of painting. 14th–15th century niques used as accurately and ob- iconographer Andrei jectively as possible, and only then Careful microscopic examination and Rublev, but scientists to compare the objects visually. We microphotography of the paintings and restorers now be- lieve the icons were followed a universal, internation- enabled us to clarify the number and painted by a different ally recognized method of extensive sequence of paint layers. These tech- hand, or possibly by analysis. -
Reflections on a Collection: Revisiting the UWM Icons Fifty Years Later Laura Jean Louise Sims University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2015 Reflections on a Collection: Revisiting the UWM Icons Fifty Years Later Laura Jean Louise Sims University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History Commons, History of Art, Architecture, and Archaeology Commons, and the History of Christianity Commons Recommended Citation Sims, Laura Jean Louise, "Reflections on a Collection: Revisiting the UWM Icons Fifty Years Later" (2015). Theses and Dissertations. 839. https://dc.uwm.edu/etd/839 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. REFLECTIONS ON A COLLECTION: REVISITING THE UWM ICONS FIFTY YEARS LATER by Laura Sims A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee May 2015 ABSTRACT REFLECTIONS ON A COLLECTION: REVISITING THE UWM ICONS FIFTY YEARS LATER by Laura Sims The University of Wisconsin-Milwaukee, 2015 Under the Supervision of Professor Richard Leson The University of Wisconsin–Milwaukee Art Collection is home to a sizable donation of Byzantine and post-medieval icons and liturgical objects. Central to this thesis exhibition catalogue are the thirty-two Greek and Russian icons from this collection and their history with collector Charles Bolles Bolles-Rogers. Reflections on a Collection: Revisiting the UWM Icons Collection Fifty Years Later contextualizes the history of icon collecting in the United States and examines the collecting history of these icons. -
Bulletin-7.1.18-Web-Version.Pdf
Welcome to St. Paul Orthodox Christian Church in Naples. We are honored by your presence. It is our sincere desire that your participation today in the Divine Liturgy will draw you closer to Christ and His Church. Please join us after service for our fel- lowship hour in the pavilion. It is good to be together. The Orthodox Church understands the Eucharist, or Lord’s Supper, to be the para- mount expression of Christian unity. While it is our deepest hope that Christendom will one day fulfill Christ’s desire for true unity among all those who claim His name (John 17:21), the reality of our day is that various segments of Christendom are not Please keep Al & Anna Castley, the departed servant of God Robert Mourad, his wife unified with the historic Orthodox Christian faith - something truly unfortunate. Margaret and the entire Mourad family, Marianne Poppe, Robert Cardoos, Christopher and the Sapp family, Joe & Doris Hessney, and Judy Tirakis, in your prayers. Since participation in the Eucharist (Holy Communion) expresses a unity with all the dogma, teachings, and practice of the Orthodox Church, it is natural that non-Orthodox Prayers for the departed will be said on occasion of the 1-year anniversary of the de- Christians (Roman Catholic, Protestant, Non-Chalcedonian, etc.) do not receive Holy parting of Proto-Deacon Gregory Hatrak (OCA; St. Vladimir’s Seminary, SVS Press) Communion but respect the official policy of the Antiochian Archdiocese of North unto life everlasting. America and canonical boundaries of the entire Orthodox Christian Church. We thank you for your understanding. -
Framing the Holy: Revetments on Late Byzantine Icons
Framing the Holy: Revetments on Late Byzantine Icons by Elizabeth Yoder Moss A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Art University of Toronto © Copyright by Elizabeth Yoder Moss 2016 Framing the Holy: Revetments on Late Byzantine Icons Elizabeth Yoder Moss Doctor of Philosophy Graduate Department of Art University of Toronto 2016 Abstract This study examines icon revetments produced during the late Byzantine period (1261–1453), situating them within the diversity of mixed-media, multisensory, and multivalent devotional images that combined personal piety with conspicuous consumption and the public spectacle of lavish patronage. These works are evidence of the “ornamental turn”—a paradigm shift marked by the increase of ornament on visual works that mediated wealth, spiritual devotion, and social power. Revetted icons do not make arguments about the faithful representation of prototypes; they make arguments about faithful veneration. Beginning with a historiographic study of ornament, the thesis examines how the ornamental vocabulary on revetments manifests relationships between specific decorated icons. Indices of ornament motifs and a catalogue of surviving icon revetments and frames from the eleventh through fifteenth centuries constitute the appendices. In chapter 2, I argue that the previously unstudied decorated strips added to the icon of the Mother of God Hodegetria in Ohrid were part of a larger project aimed at legitimizing Serbian emperor Stefan Uroš IV Dušan (r. 1331–55) and his archbishop Nicholas in Ohrid. They structured their leadership in the Balkans on their contemporaries in Constantinople. In chapter 3, I present a new reading of the dedicatory prayers inscribed on the icon of the Mother of God in Freising. -
The Development of Byzantine Art
Tenor of Our Times Volume 6 Article 8 2017 Windows to the Divine: The evelopmeD nt of Byzantine Art Sam Klein [email protected] Follow this and additional works at: https://scholarworks.harding.edu/tenor Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Cultural History Commons, Esthetics Commons, History of Christianity Commons, and the Medieval History Commons Recommended Citation Klein, Sam ( 2017) "Windows to the Divine: The eD velopment of Byzantine Art," Tenor of Our Times: Vol. 6, Article 8. Available at: https://scholarworks.harding.edu/tenor/vol6/iss1/8 This Article is brought to you for free and open access by the College of Arts & Humanities at Scholar Works at Harding. It has been accepted for inclusion in Tenor of Our Times by an authorized editor of Scholar Works at Harding. For more information, please contact [email protected]. WINDOWS TO THE DIVINE: THE DEVELOPMENT OF BYZANTINE ART By Sam Klein Byzantine art, at times belittled and overlooked by critics, is now better understood within the mindset and motivations that produced it. Judged in terms of realism such as accurate bodily proportions, precise detail, or subtle and complex color, Byzantine style indeed lacks much. Its goals were elsewhere.1 While the classical mind and its echo in the Italian Renaissance strove to depict the world as it was, if not more vibrant, the Byzantine eye looked beyond the world. Its scenes were not “representations but reenactments.”2 Its abstractions were not failures to capture reality, but conscious efforts to reflect a higher reality beyond mere sensation and emotion.3 The nonrepresentational nature of Byzantine art, while not universally acknowledged, has been widely observed and is essential to framing its history. -
The Spirituality of Andrei Rublev's Icon of the Holy Trinity
Reimer The spirituality of Andrei Rublev’s Icon of the Holy Trinity J. Reimer THE SPIRITUALITY OF ANDREI RUBLEV’S ICON OF THE HOLY TRINITY ABSTRACT This article focuses on the work of Rublev who is considered to be the greatest medieval Russian Orthodox painter of icons and frescoes and whose work has influenced gene rations of Russian artists, theologians, writers and philosophers. It examines Rublev’s spirituality, both historically and theologically, with specific attention to the Icon of the Holy Trinity which is considered to be his most important work. 1. THE MAN AND HIS WORK Andrei Rublev1 is considered to be the greatest of all Russian Orthodox me dieval painters of icons and frescoes. He was born in either 1360 or 1370. His place of birth is unknown. In fact, little is known about his life. Orthodox histo rians believe he was a monk of the monastery founded by the famous monastic father Sergii Radonezhski,2 who died in 1392 and who was succeeded by Nikon of Radonezh. It is believed that Nikon was Andrei Rublev’s spiritual father.3 Rublev´s name was first mentioned in 1405 as one of three artists who de corated the Cathedral of the Annunciation in Moscow’s Kremlin. The other two masters were Theophanes the Greek and Prochor of Gorodets. Both are well known in Russian religious history.4 Rublev is mentioned last on the list, which is an indication of his relative youth and, probably, his monastic status. Ac cording to Russian chronicles, Rublev also painted icons and frescoes in the 1 Also: Andrei Rublev, Andrey Roublyov. -
3. the Transfiguration Miniature of Parisinus Graecus 1242
3. The Transfiguration Miniature of Parisinus Graecus 1242 The subject of Christ’s Transfiguration appears regularly in a doctrinal context in the writings of the hesychasts, connected with the vision of the ‘age to come’. The event of the Transfiguration represents the vision of Christ in His glory, the deified state of being in God’s Kingdom. For the ‘Son of God became man so that we might become gods’.1 It is a doctrine underlining Byzantine aesthetics and the theory of the image (icon) in representational arts; the inaccessible and invisible Triadic God imparts himself directly to his creation through his incarnation and in his uncreated glory or energies.2 Hence, the doctrine of the Taboric light provides evidence for establishing an iconographic and aesthetic argument for the existence of God.3 The acceptance by the Byzantine Church of the theology of the uncreated light as an official dogma in 1375 motivated the advancement of a new and complex image of the Transfiguration in the 14th and 15th centuries.4 Byzantine manuscript illumination of the Transfiguration accompanying the Theological Works of John VI Kantacuzenos (Parisinus Graecus 1242)5 verifies this trend. The miniature is a dramatic and captivating image of the Transfiguration that eloquently illustrates the release of the uncreated light of God on Mt Tabor (Fig. 11). Three new elements appear in this luxurious work of art: a new ‘hesychast’ mandorla, a tripartite representation of Mt Tabor, and overall change in the positioning of the apostles. The theological background of the Transfiguration The composition of the Transfiguration is the traditional Byzantine image of the feast of the Metamorphosis of Christ.