'Being' in Constantinople (4Th-15Th Centuries) Witnessed Through the Testimony of Precious Textiles
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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. -
The Costume of Byzantine Emperors and Empresses ’
Shaw, C. (2011) ‘The Costume of Byzantine Emperors and Empresses ’ Rosetta 9.5: 55-59. http://www.rosetta.bham.ac.uk/colloquium2011/shaw_costume.pdf http://www.rosetta.bham.ac.uk/colloquium2011/shaw_costume.pdf The Costume of the Byzantine Emperors and Empresses Carol Shaw PhD candidate, 4th year (part-time) University of Birmingham, College of Arts and Law [email protected] The Costume of the Byzantine Emperors and Empresses The first Roman emperors were all members of the senate and continued to belong to it throughout their reigns.1 All the members of the senate including the emperor wore tunics and togas decorated with a wide purple band, the latus clavus, and special footwear.2 During the period of instability in the early third century several emperors were selected by the army.3 Initially this shift in power did not affect court ceremony and dress; but slowly both began to change. Court ceremony became more formal and emperors distanced themselves even from senators.4 During the late third century, Diocletian introduced the new court ceremony of the adoration of the purple; according to Aurelius Victor, the emperor also wore richly brocaded purple robes, silks and jeweled sandals.5 Diocletian’s abdication ceremony illustrates that court ceremony and dress often remained very simple. The only garment closely associated with imperial power at this time was the emperor’s purple robes. In his On the Deaths of the Persecutors, Lactantius records that in AD 305 when Diocletian abdicated, the ceremony consisted of the emperor standing under a statue of his patron deity, 1 Under the law the Lex Ovinia (enacted by 318 BC), censors selected each senator according to certain criteria. -
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. -
The Silk Road in World History
The Silk Road in World History The New Oxford World History The Silk Road in World History Xinru Liu 1 2010 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offi ces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2010 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, NY 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Liu, Xinru. The Silk Road in world history / Xinru Liu. p. cm. ISBN 978-0-19-516174-8; ISBN 978-0-19-533810-2 (pbk.) 1. Silk Road—History. 2. Silk Road—Civilization. 3. Eurasia—Commerce—History. 4. Trade routes—Eurasia—History. 5. Cultural relations. I. Title. DS33.1.L58 2010 950.1—dc22 2009051139 1 3 5 7 9 8 6 4 2 Printed in the United States of America on acid-free paper Frontispiece: In the golden days of the Silk Road, members of the elite in China were buried with ceramic camels for carrying goods across the desert, hoping to enjoy luxuries from afar even in the other world. -
Defining and Perceiving Peoples in the Chronicles of Norman Italy" (2011)
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 6-2011 "Videbantur Gens Effera": Defining and erP ceiving Peoples in the Chronicles of Norman Italy Jesse Hysell Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the European History Commons Recommended Citation Hysell, Jesse, ""Videbantur Gens Effera": Defining and Perceiving Peoples in the Chronicles of Norman Italy" (2011). Master's Theses. 394. https://scholarworks.wmich.edu/masters_theses/394 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. "VIDEBANTUR GENS EFFERA": DEFINING AND PERCEIVING PEOPLES IN THE CHRONICLES OF NORMAN ITALY by Jesse Hysell A Thesis Submitted to the Faculty ofThe Graduate College in partial fulfillment ofthe requirements for the Degree of Master ofArts Department of History Advisor: Luigi Andrea Berto, Ph.D. Western Michigan University Kalamazoo, Michigan June 2011 "VIDEBANTUR GENS EFFERA": DEFINING AND PERCEIVING PEOPLES IN THE CHRONICLES OF NORMAN ITALY Jesse Hysell, M. A. Western Michigan University, 2011 The goal ofthis project is to analyze the ways different cultural groups in Sicily and southern Italy were depicted in a set ofhistorical texts associated with the Norman takeover ofthose regions in the eleventh and twelfth centuries. To achieve that aim, I consider social vocabulary applied to three distinct peoples (native Italians, Greeks, and Muslims) in five sources written by Amatus ofMontecassino, Geoffrey Malaterra, William ofApulia, Alexander ofTelese, and Hugo Falcandus. -
Bbbs 38 (2012)
38 2012 BULLETIN OF BRITISH BYZANTINE STUDIES BULLETIN OF BRITISH BYZANTINE STUDIES 38 ISSN 0265-162 2012 being the Bulletin of the Society for the Promotion of Byzantine Studies 1. Chairmen, Secretaries and Addresses of National Committees of the International Association of Byzantine Studies Albania: Dhorka Dhamo, Pellumb Xhufi, Rr Sulejman Pasha Pall 124, Shk. 3, Apart 37, Tirana, Albania Australia: Dr Bronwen Neil (President), Centre for Early Christian Studies, Australian Catholic University, PO Box 456, Virginia, Queensland 4014 ([email protected]); Dr Andrew Gillett (Secretary & Newsletter Editor), Department of Ancient History, Division of Humanities, Macquarie University, New South Wales 2109. Email: [email protected] Austria: Prof Dr Andreas Külzer (Secretary), Institut für Byzantinistik und Neogräzistik der Universität Wien, Postgrasse 7, A-1010 Vienna, Austria. Email: [email protected] Belgium: Anne Tihon (President); Jacques Noret (Vice-President and Treasurer); Caroline Mace (Secretary). Address of the Society for Byzantine Studies: Rue Ducale 1, 1000 Brussels, Belgium; address of the secretariat: Kardinaal Mercierplein 2, B3000 Leuven, Belgium Brazil: Angela Comnene, G. Kambani, 505 St Laurent Blvd, suite 106, Ottawa K1K4-4, Canada Bulgaria: Prof. Vassil Ghiuselev (President), University of Sofia "St Kliment Ohridski", Faculty of History, 15 Tsar Osvoboditel Bd., Room 40A, 1504 Sofia, Bulgaria. Canada: Antony Littlewood, Dept. of Classical Studies, The University of Western Ontario, Talbot College, London, Ontario, Canada N6A 3K7 Chile: Alejandro Zorbas, Universidad de Chile, Facultad de Filosofia, Centro de Estudios Bizantinos y Neohelenicos, Casilla 10136, Santiago, Chile China: Zhu Huan, Xu Jia-Lin, Wang Yue, History Dept., Lanzhou University, 730000 Lanzhou, Gansu Province, P. -
Abstracts of Papers
45th Annual Byzantine Studies Conference Abstracts of Papers October 17-20, 2019 University of Wisconsin-Madison Sponsored by: UW Madison Anonymous Fund Department of History Department of Classics and Ancient Near East Studies Department of Folklore and Comparative Literature Program in Medieval Studies Program Committee Annie Labatt, Chair, Sweet Briar College Elena Boeck, DePaul University Jeff Brubaker, SUNY Geneseo Craig Gibson, University of Iowa Anthony Kaldellis, Ohio State University Thomas Lecaque, Grand View University Brenda Llewelyn Ihssen, Pacific Lutheran University Jordan Pickett, University of Georgia at Athens Luis Sales, Scripps College Local Arrangements Committee Leonora Neville, Chair Jefferey Beneker Thomas Dale Christopher Livanos 2019 BYZANTINE STUDIES CONFERENCE PROGRAM WEDNESDAY, OCTOBER 16TH 6:00 PM Mike Clover Memorial Lecture “The Contagion of the Gaze: A Persistent motif in Medieval Art and Modern Theory” Professor Anthony Cutler, Penn State Department of Art History, Elvehjem Building THURSDAY, OCTOBER 17TH 3:00 PM, Russian Icons in the Chazen Museum of Art The Chazen Museum of Art has a collection of approximately 40 Russian icons ranging in date from the 16th to 20th centuries. The core of the collection (23 examples) was given to the university by Joseph Davies, who served as ambassador to the Soviet Union (1937-38). This informal workshop will introduce participants to the collection including works not on view in the main galleries and will discuss issues of iconography, authenticity and collecting. 4:30-8:00 PM, Conference Registration Begins The Chazen Museum of Art 5:30-6:30 PM, Public Lecture, The Chazen Museum of Art "Re-Claiming The Original 'Degenerate Art': Disability, Alterity and Byzantine Studies." Professor Elena Boeck, DePaul University, Department of the History of Art and Architecture Mellon-Borghesi Workshop on Thinking Race: Migration, Representation, and Appropriation in the Middle Ages and Beyond. -
Decoding the Habit of the Byzantine Nun
JOURNAL OF MODERN HELLENISM 27-28 2009-2010 Decoding the Habit of the Byzantine Nun -HQQLIHU%DOO 7ZR DVVXPSWLRQV KDYH EHHQ PDGH LQ SDVW VWXG\ DQG XQGHUVWDQGLQJ RI WKH PRQDVWLF KDELW RU schema, of the %\]DQWLQH QXQ %HFDXVH %\]DQWLQH QXQV ZHUH QRW SDUW RIRUGHUVDVZHUHWKHLUVLVWHUVLQWKH0HGLHYDO:HVWVXFK DV &DUPHOLWH QXQV LW KDV EHHQ DVVXPHG WKDW QXQV GLG QRW ZHDU D XQLIRUP 7KH VHFRQG DVVXPSWLRQ LV WKDW QXQV VLPSO\ZRUHEODFNWXQLFVFORDNVDQGYHLOVLQWKHDEVHQFH RIVXFKDXQLIRUP1 This essay will bring together literary DQG SLFWRULDO VRXUFHV WKDW GLVFXVV WKH schema, or habit, of %\]DQWLQHZRPHQUHOLJLRXV,QGRLQJVRDSLFWXUHRIWKH IHPDOH PRQDVWLF KDELW LQ %\]DQWLXP ZLOO HPHUJH WKDW KDG DQLGHQWL¿DEOHXQLIRUPEXWZDVPRUHYDULHGWKDQKDVEHHQ XQGHUVWRRGWRGDWH %HIRUH WXUQLQJ WR FRQWHPSRUDU\ GHVFULSWLRQV RI WKH JDUPHQWVWKHPVHOYHVLWLVLPSRUWDQWWRGH¿QHZKDWLVPHDQW by nunLQWKLVSDSHU,ZLOOEHFDVWLQJP\QHWEURDGO\WR LQFOXGHQRWRQO\WKHFRHQRELWLFQXQZKRWRRNWKHYHLOLQD IRUPDO FHUHPRQ\ EXW DOVR DVFHWLFV DQG RWKHU ZRPHQ ZKR GHGLFDWHG WKHPVHOYHV WR D UHOLJLRXV OLIH HYHQ ZKHQ YRZV ZHUHQRWWDNHQ6XFKUHOLJLRXVZRPHQGUHVVHGGLIIHUHQWO\ IURPOD\ZRPHQDQGWRRNFDUHWRGUHVVDSSURSULDWHO\IRUKHU YRFDWLRQZKHWKHUWKDWZDVRQHRIDVFHWLFVROLWDU\YLUJLQRU YHLOHGQXQ2+HUFORWKLQJV\PEROLFDOO\VXJJHVWHGWRWKHZHDUHU -RXUQDORI0RGHUQ+HOOHQLVP DVZHOODVWKHRXWVLGHZRUOGDZRPDQ¶VUHOLJLRXVYRFDWLRQDQG PD\KDYHSURYLGHGVHFXULW\DQGUHVSHFWQRWW\SLFDOO\JUDQWHG WRZRPHQ7KXVWKUHHW\SHVRIZRPHQZLOOEHDGGUHVVHG LQWKLVVWXG\&RHQRELWLFQXQVZKROLYHGFRPPXQDOO\DQG WRRNYRZVZRPHQZKRSUDFWLFHGVRPHIRUPRIDVFHWLFLVP DQGFURVVGUHVVLQJQXQV:KLOHWKH¿UVWFDWHJRU\LVEHWWHU -
Byzantine Critiques of Monasticism in the Twelfth Century
A “Truly Unmonastic Way of Life”: Byzantine Critiques of Monasticism in the Twelfth Century DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hannah Elizabeth Ewing Graduate Program in History The Ohio State University 2014 Dissertation Committee: Professor Timothy Gregory, Advisor Professor Anthony Kaldellis Professor Alison I. Beach Copyright by Hannah Elizabeth Ewing 2014 Abstract This dissertation examines twelfth-century Byzantine writings on monasticism and holy men to illuminate monastic critiques during this period. Drawing upon close readings of texts from a range of twelfth-century voices, it processes both highly biased literary evidence and the limited documentary evidence from the period. In contextualizing the complaints about monks and reforms suggested for monasticism, as found in the writings of the intellectual and administrative elites of the empire, both secular and ecclesiastical, this study shows how monasticism did not fit so well in the world of twelfth-century Byzantium as it did with that of the preceding centuries. This was largely on account of developments in the role and operation of the church and the rise of alternative cultural models that were more critical of traditional ascetic sanctity. This project demonstrates the extent to which twelfth-century Byzantine society and culture had changed since the monastic heyday of the tenth century and contributes toward a deeper understanding of Byzantine monasticism in an under-researched period of the institution. ii Dedication This dissertation is dedicated to my family, and most especially to my parents. iii Acknowledgments This dissertation is indebted to the assistance, advice, and support given by Anthony Kaldellis, Tim Gregory, and Alison Beach. -
A Woman's Graffito Drawing from Hagia Sophia
Зборник радова Византолошког института LVI, 2019. Zbornik radova Vizantološkog instituta LVI, 2019. UDC: 7.041:271.2-526.62 726.54(495.02):271.2“11/12“ https://doi.org/10.2298/ZRVI1956233S CHRISTINA SAVOVA New Bulgarian University, Sofa, Bulgaria [email protected] THOMAS TOMOV New Bulgarian University, Sofa, Bulgaria [email protected] A WOMAN’S GRAFFITO DRAWING FROM HAGIA SOPHIA, CONSTANTINOPLE* This paper sheds light on the graffito-drawing from Hagia Sophia. It mainly discussed the possibility that the graffito presented a Western medieval woman donating a chalice. It is also very probable that the graffito was a work of the th15 century, produced by a anonymous skilled author, who must have been familiar with the woman’s fashion of his time. Keywords: graffiti, drawing, medieval clothes, medieval fashion, Hagia Sophia, dea- coness, medieval headdress, gown One of the places with abundance of graffiti is the Great Church or the Church of the Holy Wisdom – the famous sixth-century domed church, which was built by emperor Justinian the Great. It was considered to be one of the wonders of the world and the most important religious edifice in the city of Constantinople. Hagia Sophia was a focus of God’s blessing with tales of wonders and miracles, well-known beyond the borders of Byzantium.1 In the Great Church, graffiti comprised inscriptions in * We would like to thank Metropolitan Kallistos, ass. prof. Fr. Andrej Posternak, Fr. Michael Zheltov, prof. Maureen Miller, prof. Gary Macy, prof. Valerie Karras and prof. Maria Parani, for their help- ful advice and suggestions. -
BYZANTIUM in the ICONOCLAST ERA (Ca 680-850): the SOURCES an Annotated Survey
ZANTICJ THE ICONOCLAST ERA (ca 680-850): THE SOURCES B-11RMINGHAM BYZANTINE AND OTTOMAN MONOGRAPHS Volume 7 General Editors Anthony Bryer John Haldon Centre for Byzantine, Ottoman and Modem Greek Studies University of Birmingham BYZANTIUM IN THE ICONOCLAST ERA (ca 680-850): THE SOURCES An annotated survey Leslie Brubaker John Haldon With a section on The Architecture ofIconoclasm: the Buildings by Robert Ousterhout Ashgate Aldershot • Burlington USA • Singapore • Sydney This edition © Leslie Brubaker & John Haldon, 2001 All rights reserved. No part ofthis publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission ofthe publisher. The authors have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identified as the authors ofthis work. Ashgate Publishing Limited Ashgate Publishing Company Gower House, Croft Road 131 Main Street Aldershot, Hants GUll 3HR Burlington VT 05401-5600 England USA Ashgate website: http://www.ashgate.com ISBN 0 7546 0418 7 British Library Cataloguing-in-Publication data Brubaker, Leslie Byzantium in the Iconoclast Era (ca 680-850): The Sources: An Annotated Survey. - (Binningham Byzantine and Ottoman monographs) I. Byzantine Empire-527-l 081. I. Title. 11. Haldon, John F. Ill. Ousterhout, Robert. IV. University ofBirmingham. Centre for Byzantine, Ottoman and Modern Greek Studies. 949.5'02 Library of Congress Cataloging-in-Publication data The Library -
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.