Art and Architecture of Ravenna & Bologna
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About Russian Beginnings
CK_5_TH_HG_P104_230.QXD 2/14/06 2:23 PM Page 209 At a Glance continued ◗ Ivan III (the Great) and Ivan IV (the Terrible) expanded Russian terri- tory and the authority of the czars. ◗ Peter the Great sought to modernize and westernize Russia in order to enable it to compete with European nations for trade, territory, and prestige. ◗ The desire to find a warm-water port was one factor that encouraged Russian expansion. ◗ Catherine the Great, while once interested in reforming certain abuses of Russian government, became as autocratic as her predecessors after a peasant revolt and the French Revolution. ◗ The lives of peasants worsened under Peter and Catherine. Teaching Idea What Teachers Need to Know You may want to teach section B, A. History and Culture “Geography,” before “History and Culture.” Byzantine Influence in Russia The rise of Russia is closely related to the history of the Byzantine Empire, which students in Core Knowledge schools should have encountered in Grades 3 and 4. For a thousand years after the fall of the Roman Empire in the west, the Eastern or Byzantine Empire continued to build on ancient Greek and Roman tra- ditions and culture. For example, Byzantine architects used the Roman dome to build magnificent churches, such as Hagia Sophia in the Byzantine capital of Constantinople (now called Istanbul). Byzantine artists also created beautiful mosaics and icons. Students in Core Knowledge schools should have studied Hagia Sophia and Byzantine mosaics as part of the art curriculum for Grade 3. However, they may not be acquainted with icons, which are special pictures of Jesus, Mary, and the saints. -
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 -
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. -
BİZANS MİRASI MİMARLIK VE SANAT Genco Berkin1
IJSHS, 2018; 2 (2): 53-64 53 BİZANS MİRASI MİMARLIK VE SANAT Genco Berkin1 ÖZET Bizans mimarisi, yapı, ikon ve mozaik sanatları açısından çok zengindir. Bizans mimarisi başta Avrupa ve Amerika olmak üzere birçok yapıya esin kaynağı olmuştur. Bu yüzden üzerinde daha fazla araştırma yapılması gerekmektedir. Bizans mimarisi ve sanatı yeni bir akım olan Neo-Bizans akımını ortaya çıkarmıştır. Bizans mimarisi 15. Ve 19. Yüzyılda Avrupa mimarisini derinden etkilemiştir. Bizans mimarisinin Doğu ve Batı kültürlerinin gelişmesi ve ilerlemesi üzerinde büyük katkısı olmuştur. Bu çalışmada geçmiş ve bugünün Doğu-Batı mimari etkileşimleri karşılıklı olarak irdelenmiştir. Anahtar Kelimeler: Bizans Mimarisi, Bizans Mozaikleri, Neo Bizans Akımı THE LEGACY OF BYZANTINE ARCHITECTURE AND ART ABSTRACT Byzantine architecture is extraordinarily rich in terms of the buildings, iconography and mosaics that have survived in the course of two millennia. Byzantine architecture and art was overlooked for a long period. Byzantine influence on architecture and art has widespread through Europe and America. Byzantine influence on several professions consisted of architecture, paintings, poetry, decorations and jewelry. Byzantine architecture and art was so spectacular that in the following eras it whether created a revival or became the spring of Neo- Byzantine style. Byzantine architecture had impressions on European Architecture from 15th century to 19th century. Byzantine Empire has served as a bridge of cultural transportation between East and West civilizations -
Offprint / Ayribasim
JMR BURSA ULUDAĞ UNIVERSITY JOURNAL OF MOSAIC RESEARCH AIEMA - TÜRkİye SCIENTIFIC COMMITTEE / BILIMSEL KOMITE CATHERINE BALMELLE (CNRS PARIS-FRANSA/FRANCE), JEAN-PIERRE DARMON (CNRS PARIS-FRANSA/FRANCE), MARIA DE FÁTIMA ABRAÇOS (UNIVERSITY NOVA OF LISBON – PORTEKIZ/PORTUGAL), MARIA DE JESUS DURAN KREMER (UNIVERSITY NOVA OF LISBON – PORTEKIZ/PORTUGAL), MICHEL FUCHS (LAUSANNE UNIVERSITY – ISVIÇRE/SWISS), KUTALMIS GÖRKAY (ANKARA ÜNIVERSITESI – TÜRKIYE), ANNE-MARIE GUIMIER-SORBETS (AIEMA – FRANSA/FRANCE), WERNER JOBST (AUSTRIAN ACADEMY OF SCIENCES – AVUSTURYA/ AUSTRIA), I. HAKAN MERT (BURSA ULUDAG˘ ÜNIVERSITESI –TÜRKIYE), MARIA LUZ NEIRA JIMÉNEZ (UNIVERSIDAD CARLOS III DE MADRID - ISPANYA- SPAIN), ASHER OVADIAH (TEL AVIV UNIVERSITY – ISRAIL/ISRAEL), MEHMET ÖNAL (HARRAN ÜNIVERSITESI – TÜRKIYE), DAVID PARRISH (PURDUE UNIVERSITY – A.B.D./U.S.A), GÜRCAN POLAT (EGE ÜNIVERSITESI – TÜRKIYE), MARIE-PATRICIA RAYNAUD (CNRS PARIS – FRANSA/FRANCE ), DERYA AHIN (BURSA ULUDAG˘ ÜNIVERSITESI – TÜRKIYE), MUSTAFA AHIN(BURSA ULUDAG˘ÜNIVERSITESI–TÜRKIYE), Y. SELÇUK ENER (GAZI ÜNIVERSITESI – TÜRKIYE), EMINE TOK (EGE ÜNIVERSITESI – TÜRKIYE), PATRICIA WITTS (AIEMA– BIRLEŞIK KRALLIK/UNITED KINGDOM), LICINIA N.C. WRENCH (NEW UNIVERSITY OF LISBON – PORTEKIZ/PORTUGAL) OFFPRINT / AYRIBASIM VOLUME 12 2019 Bursa Uludağ University Press Bursa Uludağ Üniversitesi Yayınları Bursa Uludağ University Mosaic Research Center Bursa Uludağ Üniversitesi Mozaik Araştırmaları Merkezi Series - 3 Serisi - 3 JMR - 12 BURSA ULUDAĞ UNIVERSITY BURSA ULUDAĞ ÜNİVERSİTESİ JMR Prof. Dr. A. -
Byzantine Architecture and Decoration in Cyprus: Metropolitan Or Provincial? Author(S): A
Byzantine Architecture and Decoration in Cyprus: Metropolitan or Provincial? Author(s): A. H. S. Megaw Source: Dumbarton Oaks Papers, Vol. 28 (1974), pp. 57-88 Published by: Dumbarton Oaks, Trustees for Harvard University Stable URL: http://www.jstor.org/stable/1291355 Accessed: 17/09/2010 08:05 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=doaks. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Dumbarton Oaks, Trustees for Harvard University is collaborating with JSTOR to digitize, preserve and extend access to Dumbarton Oaks Papers. http://www.jstor.org BYZANTINE ARCHITECTURE AND DECORATION IN CYPRUS: METROPOLITANOR PROVINCIAL? A. -
Hagia Sophia Stood As a Symbol of the Byz- Antine Empire for Over 9Oo Years
PREVIEWCOPY Introduction Previewing this book? Please check out our enhanced preview, which offers a deeper look at this guidebook. Travel guidebooks for the ultra curious, Approach Guides reveal a destination’s essence by exploring a compelling aspect of its cultural heritage: art, architecture, history, food or wine. A wonder of 6th century engineering, Istanbul’s church of Hagia Sophia stood as a symbol of the Byz- antine empire for over 9oo years. So great is its magnetism that it was adopted by the conquering Ot- tomans and converted into a mosque to signal their rightful inheritance of the empire’s distinguished legacy. And the magic remains on full display today: a massive dome that appears to float weight- lessly above the floor, filtered light that infuses the interior with a glow symbolic of God’s wisdom and gold-filled mosaics that encourage contemplation. It is yours to discover. What’s in this guidebook • An introduction. We review the church’s history and explain why the emperor-builder Jus- tinian broke from earlier design precedent in favor of an innovative central plan that features a prayer space covered by an enormous dome. • Review of the architectural highlights. Following our tradition of being the most valu- able resource for culture-focused travelers, we profile the church’s most important architec- tural features and offer a discussion that ties it all together. • Tour of the mosaics. The church holds one of the greatest collections of mosaics in the world. To do it justice, we crafted a comprehensive tour that features eleven of the premier works. -
The Apse Mosaics of S. Sophia at Thessaloniki (Pl. 19- 22)
The Apse Mosaics of S. Sophia at Thessaloniki (pl. 19- 22) Robin CORMACK Δελτίον XAE 10 (1980-1981), Περίοδος Δ'. Στη μνήμη του Ανδρέα Γρηγ. Ξυγγόπουλου (1891-1979)• Σελ. 111-136 ΑΘΗΝΑ 1981 THE APSE MOSAICS OF S. SOPHIA AT THESSALONIKI (PL. 19-22) The study of Byzantine mosaics has undergone a virtual revolution in recent years and this is due in the main to a new sensitivity towards the role of the individual artist in the execution of each decoration. Analysis of mosaic in its setting and a knowledge of the precise technical means through which the artist achieved his effects in each part of a building is now to be considered an essential part of the art historical study of the medium1. Such study can, however, only be successfully achieved with the help of close observation of the tesserae and their setting pla ster which must be carried out from scaffolding. Since the erection of satisfactory observation platforms is expensive and infrequent, it is im portant not to miss the opportunity when scaffolding is set up to make a full technical record of the mosaic, and there is a strong case for special international cooperation of scholars to ensure that the mosaics are stu died by experienced observers and, conversely, to ensure the existence of such experience. Unfortunately the modern study of the church of S. Sophia at Thessaloniki is a history of lost opportunities, and despite the fact that scaffoldings have already been set up in the church three times this century, the technical evidence of the mosaics has not been systema tically studied2. -
Gold in Mosaic Art and Technique Gianfranco Bustacchini Academy of Fine Arts, Ravenna, Italy
Gold in Mosaic Art and Technique Gianfranco Bustacchini Academy of Fine Arts, Ravenna, Italy One of the most remarkable and fascinating uses of gold is in the art of mosaic. This most lovely and permanent , form of decoration gives both an extraordinary splendour and yet a simplicity of dramatic quality in its representations. This article reviews both the develop- ment of the art of mosaic and the technical processes behind the achievement of the characteristic effects of richness and brilliance. Mosaic work is as ancient as any other art form, Asclepiades of Arado, or similar to those in the although its technique, in becoming ever more Pompeii villa said to have belonged to Cicero. complex and exacting, represents an artistic expres- The material most favoured by the Romans was sion which is not spontaneous but indicative of a derived from limestone, this being easier to handle highly cultured environment, so that anyone who, than volcanic rock such as granite or porphyry. To when confronted by a brilliant Byzantine mosaic, intensify the colouring, these marbles were subjected naively believed it to be the outcome of a single to varying degrees of heat, or were tinted with culture would be totally mistaken. solutions based on colour pigments. Vitreous materials In 2500 B.c. the Sumerians were already covering were seldom used and gold appeared even more walls and columns with decorative motifs composed rarely, especially in floor mosaics. of tiny clay cones the bases of which, projecting from Under the Romans, mosaic work, even if originat- the wall, were glazed or rather dyed by an encaustic ing from different schools, acquired a rather standard- process. -
Unit Sheet 9 Byzantine
AP Art History Unit Sheet #9: Byzantine – Chapter 9 Mrs. Cook Works of Art Medium Date Page # 9-2: St. Michael the Archangel ivory Early 6 th century 257 9-4: Justinian as world conqueror ( Bar barini Ivory) ivory 650CE 259 9-5 to 9 -8: Hagia Sophia, Constantinople Architecture 537CE 260 -261 Architects: Anthemius of Tralles and Isidorus of Miletus 9.1 & 9.10 to 9 -12: San Vitale, Ravenna Architecture 550CE 263 -265 9-13: Justinian, Bishop Maximianus and attendants Mosaic ca. 547 265 9-14: Theodora and attendants 9-15: Santa Apollinare in Classe, Architecture 550CE 266 9-16: Transfiguration of Jesus mosaic (Egypt) 500CE 267 9-18: Virgin (Theotokos) & Chil d between Saints Theodore and encaustic on wood 600CE 269 George 9-23: Christ the Pantokrator mosaic (Greece) 1100CE 272 9-26: St. Marks, Venice Architecture 900CE 274 9-30: Paris Psalter Tempura on Vellum 950CE 277 9-31: Vladimir Virgin Icon - encaustic wood panel 1100CE 277 9-35 : The Three Angels Tempera on wood Ca. 1410 280 Preview: In 324, Constantine founded Constantinople (modern Istanbul, Turkey) on the site of ancient Byzantium. With the subsequent division of the Roman Empire into eastern and western centers, the city became the capital of the Eastern Christian, or Byzantine Empire. Byzantine art is divided into three periods: Early Byzantine (324-726), Middle Byzantine (843-1204), and Late Byzantine (1261-1453). The art and architecture of Byzantium glorified its emperors and gave visual form to the Orthodox Christian doctrine, which became the official religion of the realm under the Emperor Justinian. -
The Infant Church: Early Christian & Byzantine
TheInfantChurch: Name:_____________ /26 EarlyChristian& Grade10 -EarlyChristian& ByzantineQuestionsPart1 Byzantine Art 1.WherewasEarlyChristianart largelyproducedandwhy?(2) 2.Whosegloryandpowerwas EarlyChristianartintendedto illustrate?(1) 3.Makeasketchofthecloseup ofChristas TheGoodSheppard catacombpaintingfromRome, early4th century.(1) TheGoodSheppard.Catacomb Painting,Rome,early4thcentury Christianreligionwasnotlegalformanyyears Catacombs AnEarlyChristianCatacomb throughouttheRomanEmpire. Assuch,early EarlyChristanart inthesecatacombs Christianart wasproducedlargely(andliterally) differedfromtheartofRomeinmany underground. ways.EarlyChristianartistsshowed littleinterestinthegraceandpowerof EarlyChristiansdugcatacombs, orunderground thehumanbody,whichwasso passagewaysoutsideofthecitytoburytheirdead importanttoGreekandRomanartists. andholdoccasionalreligiousservices.Intime,these Christian Art wasintendedtoillustrate catacombsgrewtobemassiveundergroundnetworks thegloryandpowerofChrist. /4 oftunnels,whichwerelightedandventilatedbyairshafts. 4.WhatyeardidConstantine Architecture proclaimChristianitytobethe officialreligionoftheRoman WhenConstantine proclaimed Empire?(1) Christianitytobetheofficial religionoftheRomanempire inAD312, Christianswere abletobringtheirreligion 5.Makeasketchofthefloorplan tothesurfaceinthe oftheBasilicaandlabelthe wakeofthedying Apse transeptandapse.(3) RomanEmpire. Theyhadtothen decideonakind ofabuildingtouse Doublesideaisles fortheirchurches. CAMPANILE EmperorConstantine BAPTISMAL FONT theGreat,Roman, ENTRANCES -
Ernst Kitzinger Papers, 1931-1935
http://oac.cdlib.org/findaid/ark:/13030/kt9b69p08q No online items Finding aid for the Ernst Kitzinger papers, 1931-1935 Finding aid prepared by Martha Steele. Finding aid for the Ernst Kitzinger 970036 1 papers, 1931-1935 Descriptive Summary Title: Ernst Kitzinger papers Date (inclusive): 1931-1995 Number: 970036 Creator/Collector: Kitzinger, Ernst, 1912- Physical Description: 33.0 linear feet(55 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: Art historian specializing in Byzantine, early Christian, and early medieval art. The papers document Kitzinger's scholarly contribution to the history of late antique, early Christian, Byzantine, and early medieval art. The collection consists of offprints of his published work, research materials, lecture materials, teaching files, and photographs and slides. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Ernst Kitzinger, an art historian specializing in Byzantine, early Christian, and early medieval art, was born in Munich, Germany on December 27, 1912. He wrote and lectured on a wide variety of artistic media, but is perhaps best known for his scholarship on Byzantine mosaics. The diverse research topics that make up his life's work are informed by the premise that form has meaning and that changes in form and style have something to tell us about what is happening in the society of that time. Kitzinger pursued his graduate studies at the Universities of Munich and Rome, receiving his Ph.D.