Iconoclasm: a Christian Dilemma
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The Story of the Byzantine Empire
THE STO RY O F T HE NATIO NS L LU T T E E R VO L . I z M o I S A . P , R D , T H E E AR L I E R VO L UM E S A R E f I N E F R E E B P o AS A . SO T H STO R Y O G E C . y r . I . HARR R F R E B TH U ILM A N T HE STO Y O O M . y A R R G EW B P f A K O S E R F T HE S . o S . M T HE ST O Y O J y r . J . H R B Z N R O F DE . A R A coz I T HE ST O Y C HA L A . y . — R F E R N . B S B ING O U L THE ST O Y O G MA Y y . AR G D F N W B P f H B YE S E N o . H . O T HE ST O R Y O O R A Y . y r N E n E B . E . a d S SA H T HE ST O R Y O F SP A I . y U N AL N B P R of. A . VAM B Y T HE STO R Y O F H U GA R Y . y r E ST R O F E B P of L E TH E O Y C A RT H A G . -
BYZANTINE CAMEOS and the AESTHETICS of the ICON By
BYZANTINE CAMEOS AND THE AESTHETICS OF THE ICON by James A. Magruder, III A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland March 2014 © 2014 James A. Magruder, III All rights reserved Abstract Byzantine icons have attracted artists and art historians to what they saw as the flat style of large painted panels. They tend to understand this flatness as a repudiation of the Classical priority to represent Nature and an affirmation of otherworldly spirituality. However, many extant sacred portraits from the Byzantine period were executed in relief in precious materials, such as gemstones, ivory or gold. Byzantine writers describe contemporary icons as lifelike, sometimes even coming to life with divine power. The question is what Byzantine Christians hoped to represent by crafting small icons in precious materials, specifically cameos. The dissertation catalogs and analyzes Byzantine cameos from the end of Iconoclasm (843) until the fall of Constantinople (1453). They have not received comprehensive treatment before, but since they represent saints in iconic poses, they provide a good corpus of icons comparable to icons in other media. Their durability and the difficulty of reworking them also makes them a particularly faithful record of Byzantine priorities regarding the icon as a genre. In addition, the dissertation surveys theological texts that comment on or illustrate stone to understand what role the materiality of Byzantine cameos played in choosing stone relief for icons. Finally, it examines Byzantine epigrams written about or for icons to define the terms that shaped icon production. -
Byzantine Missionaries, Foreign Rulers, and Christian Narratives (Ca
Conversion and Empire: Byzantine Missionaries, Foreign Rulers, and Christian Narratives (ca. 300-900) by Alexander Borislavov Angelov A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in The University of Michigan 2011 Doctoral Committee: Professor John V.A. Fine, Jr., Chair Professor Emeritus H. Don Cameron Professor Paul Christopher Johnson Professor Raymond H. Van Dam Associate Professor Diane Owen Hughes © Alexander Borislavov Angelov 2011 To my mother Irina with all my love and gratitude ii Acknowledgements To put in words deepest feelings of gratitude to so many people and for so many things is to reflect on various encounters and influences. In a sense, it is to sketch out a singular narrative but of many personal “conversions.” So now, being here, I am looking back, and it all seems so clear and obvious. But, it is the historian in me that realizes best the numerous situations, emotions, and dilemmas that brought me where I am. I feel so profoundly thankful for a journey that even I, obsessed with planning, could not have fully anticipated. In a final analysis, as my dissertation grew so did I, but neither could have become better without the presence of the people or the institutions that I feel so fortunate to be able to acknowledge here. At the University of Michigan, I first thank my mentor John Fine for his tremendous academic support over the years, for his friendship always present when most needed, and for best illustrating to me how true knowledge does in fact produce better humanity. -
Byzantine Iconoclasm
Byzantine Iconoclasm %rom &i'ipedia, the free encyclopedia The Byzantine Iconoclasm )*reek: Εἰκονομαχία, Eikonomachía) refers to t,o periods in the history of the Byzantine -mpire ,hen -mperors, bac'ed by imperially-appointed leaders and councils of the *reek /rthodox Church, imposed a ban on religious images or icons. The 0%irst Iconoclasm0, as it is sometimes called, lasted bet,een about 123 and 141, ,hen a change on the throne reversed the ban. The 05econd Iconoclasm0 ,as bet,een 4#6 and 467. Iconoclasm, *reek for 0image-brea'ing0, is the deliberate destruction ,ithin a culture of the culture's own religious icons and other symbols or monuments, usually for religious or political motives. People ,ho engage in or support iconoclasm are called iconoclasts, a term that has come to be applied figuratively to any person ,ho brea's or disdains established dogmata or conventions. Conversely, A simple cross: example of people ,ho revere or venerate religious images are iconoclast art in the Hagia derisively called 0iconolaters0 )εἰκονολάτραι+. (hey Irene Church in Istanbul. are normally 'nown as 0iconodules0 )εἰκονόδουλοι+, or 0iconophiles0 )εἰκονόφιλοι+. Iconoclasm may be carried out by people of a different religion, but is often the result of sectarian disputes bet,een factions of the same religion. In Christianity, iconoclasm has generally been motivated by an 0/ld.Covenant0 interpretation of the Ten Commandments, ,hich forbid the ma'ing and ,orshipping of 0graven images0, see also Biblical la, in Christianity. The t,o serious outbrea's of iconoclasm in the Byzantine -mpire during the 4th and !th centuries ,ere unusual in that the use of images ,as the main issue in the dispute, rather Byzantine Iconoclasm, Chludov than a by-product of ,ider concerns. -
Gregory Palamas at the Council of Blachernae, 1351 Papadakis, Aristeides Greek, Roman and Byzantine Studies; Winter 1969; 10, 4; Proquest Pg
Gregory Palamas at the Council of Blachernae, 1351 Papadakis, Aristeides Greek, Roman and Byzantine Studies; Winter 1969; 10, 4; ProQuest pg. 333 Gregory Palamas at the Council of Blachernae, 1351 Aristeides Papadakis HE STORY of the last centuries of Byzantium is one of shrinking Tfrontiers and inevitable disintegration, graphically illustrated by the disasters of Manzikert (1071) and Myriocephalon (1176). The final disaster of 1453 only marks the end of a story the outcome of which had long been determined. Curiously enough, however, these years of increasing decay, when Byzantium proved Ha marvel of tenacity,"1 were also years of extraordinary vitality in such areas as Byzantine theology and art. The profound puzzle of cultural energy amidst political inertia and exhaustion is best illustrated by hesychasm -a movement long organic to Byzantine spirituality, but which first gained momentum with its first eminent exponent, Gregory Palamas, theologian and monk of Mount Athos, and subsequent archbishop of Thessalonica. Happily, confusion and obSCUrity no longer shroud the personality and achievement of Gregory Palamas. Recent research has shown that Pal amite theology-the cause celebre that shook the fabric of Byzantine society in the 1340s-constitutes an organic continuation of the strong biblical and patristic tradition of the Byzantine Church. The theology of Palamas is in no wayan innovative or heretical deviation from orthodoxy (and therefore of marginal importance as some have thought).2 No one has contributed more to making Palamas accessible 1 Cf. G. Ostrogorsky in CMedHI IV.l (Oxford 1968) 367; J. M, Hussey, "Gibbon Re written: Recent Trends in Byzantine Studies," in Rediscovering Eastern Christendom, ed. -
Sex, Lies, and Mosaics: the Zoe Panel As a Reflection of Change in Eleventh-Century Byzantium*
SEX, LIES, AND MOSAICS: THE ZOE PANEL AS A REFLECTION OF CHANGE IN ELEVENTH-CENTURY BYZANTIUM* Brian A. Pollick, University of Victoria Abstract The stereotype of Byzantine art as static and unchanging still compels Byzantine specialists to emphasize that change is readily evident in Byzantine art if one knows where and how to look for it. This paper is a case study about such change and how a unique set of social forces in the early eleventh century induced cultural change that resulted in new visual forms. The subject of this case study is the mosaic known as The Zoe Panel, located in the South Gallery of the Hagia Sophia in Constantinople. The panel depicts the Emperor Constantine IX presenting a bag of money to the enthroned Christ, while the Empress Zoe presents an imperial scroll probably signifying an ongoing grant. Although there has been much written about this mosaic, the fact that the moneybag and imperial scroll represent two new iconographic elements in imperial portraits has gone largely unnoticed. This study argues that the appearance of these new iconographic features is a direct reflection of the specific dynastic, economic and social circumstances in the Byzantine Empire in the early eleventh century. he stereotype of Byzantine art as static and unchanging still compels Byzantine specialists to emphasize that change is readily evident in Byzantine art if one knows where and how to look for it. This paper is a Tcase study about such change and examines how a unique set of political, economic and social forces in the early eleventh century induced socio-cultural change that resulted in new visual forms. -
The Role of the Icon in Byzantine Piety by LENNART RYDEN
The Role of the Icon in Byzantine Piety By LENNART RYDEN In February 754, the bishops of the Byzantine Empire met in the imperial palace at Hiereia, a peninsula on the Asiatic side of the Sea of Marmora, not far from Chalcedon. The council had been convened by the Emperor Constantine V (741-75), who wanted the bishops to examine the scriptures and express their opinion on the "deceitful painting of likenesses, which draws away the human mind from the service which is sublime and befits the Divinity to the grovelling and material service of creatures"1. As the phrasing shows, the assembled bishops were not expected to discuss whether the making of icons2 was justified or not. The emperor had already examined this question and found that there was no such justification. The purpose of the council was rather to remove unorthodox elements from the emperor's argument, to give it a theological finish and to put it into a historical context. The proceedings lasted six months. In August a horos (definition) was approved, which may be summarized as follows3. In order to separate man from God, Lucifer made man worship the crea- ture rather than the Creator (cf. Rom. i,25). God, who wanted to save man, sent him the Law and the prophets. When man failed to return to his former state, God at last sent His own Son and Logos. Christ saved man from idolatry and taught him to worship in spirit and truth (cf. John iv ,24). The Christian apostles and teachers passed on the true faith to later generations. -
ROUTES and COMMUNICATIONS in LATE ROMAN and BYZANTINE ANATOLIA (Ca
ROUTES AND COMMUNICATIONS IN LATE ROMAN AND BYZANTINE ANATOLIA (ca. 4TH-9TH CENTURIES A.D.) A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY TÜLİN KAYA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF SETTLEMENT ARCHAEOLOGY JULY 2020 Approval of the Graduate School of Social Sciences Prof. Dr. Yaşar KONDAKÇI Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. Prof. Dr. D. Burcu ERCİYAS Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. Assoc. Prof. Dr. Lale ÖZGENEL Supervisor Examining Committee Members Prof. Dr. Suna GÜVEN (METU, ARCH) Assoc. Prof. Dr. Lale ÖZGENEL (METU, ARCH) Assoc. Prof. Dr. Ufuk SERİN (METU, ARCH) Assoc. Prof. Dr. Ayşe F. EROL (Hacı Bayram Veli Uni., Arkeoloji) Assist. Prof. Dr. Emine SÖKMEN (Hitit Uni., Arkeoloji) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Tülin Kaya Signature : iii ABSTRACT ROUTES AND COMMUNICATIONS IN LATE ROMAN AND BYZANTINE ANATOLIA (ca. 4TH-9TH CENTURIES A.D.) Kaya, Tülin Ph.D., Department of Settlement Archaeology Supervisor : Assoc. Prof. Dr. -
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. -
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. -
THE JUSTINIAN CODE and ITS INFLUENCE (Justinian Ruled the Eastern Roman Empire 527 A.D - 565 A.D)
THE JUSTINIAN CODE AND ITS INFLUENCE (Justinian Ruled the Eastern Roman Empire 527 A.D - 565 A.D) The Justinian Code and Its Influence Laws make up the foundation of modern society, by clearly stating what is and isn’t allowed and provide a set of the punishments that coincide with the crime that was committed. One of Rome’s greatest achievements was their judicial system. However, as the Roman Empire expanded they became weak and were unable to maintain their borders. This ultimately led to the collapse of the Roman Empire and it was divided into the Eastern and Western Roman Empire. Like its former self the Western Empire also collapsed and all that remained was the Eastern Empire. As the Empires collapsed so did the legal system, after many years of corrupt officials making laws and the numerous controversial rulings by the roman court system, the once proud and magnificent Roman law was left in shambles. Emperor Justinian I was the ruler of the Eastern Roman Empire, or the Byzantine Empire. Emperor Justinian saw the condition that the Roman law was in and set out to reform the Roman legal system by creating his own set of laws and interpretations based on the old roman laws. The purpose of these sets of laws was to create a universal set of laws that all of the Byzantine Empire could follow, and was given presidence over any local laws, preventing any contradictions in court rulings. This set of laws would be known as Corpus Juris Civilis, which translates to “Body of Civil Law” and would also be known as the Justinian Code. -
The Wars of the Roses
Unit 2: Roman Church and the Rise of the Papal State © Jason Asbell, 2019 Unit 2: Roman Church and the Rise of the Papal State © Jason Asbell, 2019 © Jason Asbell, 2019 © Jason Asbell, 2019 © Jason Asbell, 2019 SW India evangelized 1st Cent. AD Manicheanism was a Gnostic belief that was semi-Christian, but believed in a dualistic cosmology in which Good and Evil were equally powerful – this belief system lasted a long time…eventually almost all Manichean believers assimilated into either more mainstream versions of Christianity, Buddhism, or Islam © Jason Asbell, 2019 Unit 2: Roman Church and the Rise of the Papal State © Jason Asbell, 2019 St. Miltiades: First African Pope. First pope after the end of the persecution of Christians through the Edict of Milan (313 AD). Presided over the Lateran council of 313. St. Sylvester I: 1st Council of Nicaea (325). Built St. John Lateran, Santa Croce in Gerusalemme and Old St. Peter's Basilica. Stated recipient of Donation of Constantine (later shown to be a forgery) Papal Reigns: St. Miltiades to St. Gregory I "the Great" MILTIADES INNOCENT I FELIX III (II?) JOHN II (2 JULY 311 – 10 JAN 314) (21 DEC 401 – 12 MARCH 417) (13 MARCH 483 – 1 MARCH 492) (2 JAN 533 – 8 MAY 535) MARK BONIFACE I ANASTASIUS II VIGILIUS (336) (28 DEC 418 – 4 SEP 422) (24 NOV 496 – 19 NOV 498) (29 MARCH 537 – 7 JUNE 555) LIBERIUS SIXTUS III HORMISDAS JOHN III (17 MAY 352 – 24 SEP 366) (31 JULY 432 – 18 AUG 440) (20 JULY 514 – 6 AUG 523) (17 JULY 561 – 13 JULY 574) SIRICIUS HILARIUS FELIX IV PELAGIUS II (17 DEC 384 – 26 NOV