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Author: Nadine Schibille
Publisher: Routledge
ISBN: 1317124146
Category : Art
Languages : en
Pages : 399
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Book Description
Paramount in the shaping of early Byzantine identity was the construction of the church of Hagia Sophia in Constantinople (532-537 CE). This book examines the edifice from the perspective of aesthetics to define the concept of beauty and the meaning of art in early Byzantium. Byzantine aesthetic thought is re-evaluated against late antique Neoplatonism and the writings of Pseudo-Dionysius that offer fundamental paradigms for the late antique attitude towards art and beauty. These metaphysical concepts of aesthetics are ultimately grounded in experiences of sensation and perception, and reflect the ways in which the world and reality were perceived and grasped, signifying the cultural identity of early Byzantium. There are different types of aesthetic data, those present in the aesthetic object and those found in aesthetic responses to the object. This study looks at the aesthetic data embodied in the sixth-century architectural structure and interior decoration of Hagia Sophia as well as in literary responses (ekphrasis) to the building. The purpose of the Byzantine ekphrasis was to convey by verbal means the same effects that the artefact itself would have caused. A literary analysis of these rhetorical descriptions recaptures the Byzantine perception and expectations, and at the same time reveals the cognitive processes triggered by the Great Church. The central aesthetic feature that emerges from sixth-century ekphraseis of Hagia Sophia is that of light. Light is described as the decisive element in the experience of the sacred space and light is simultaneously associated with the notion of wisdom. It is argued that the concepts of light and wisdom are interwoven programmatic elements that underlie the unique architecture and non-figurative decoration of Hagia Sophia. A similar concern for the phenomenon of light and its epistemological dimension is reflected in other contemporary monuments, testifying to the pervasiveness of these aesthetic values in early Byzantium.
Author: Nadine Schibille
Publisher: Routledge
ISBN: 1317124146
Category : Art
Languages : en
Pages : 399
Get Book Here
Book Description
Paramount in the shaping of early Byzantine identity was the construction of the church of Hagia Sophia in Constantinople (532-537 CE). This book examines the edifice from the perspective of aesthetics to define the concept of beauty and the meaning of art in early Byzantium. Byzantine aesthetic thought is re-evaluated against late antique Neoplatonism and the writings of Pseudo-Dionysius that offer fundamental paradigms for the late antique attitude towards art and beauty. These metaphysical concepts of aesthetics are ultimately grounded in experiences of sensation and perception, and reflect the ways in which the world and reality were perceived and grasped, signifying the cultural identity of early Byzantium. There are different types of aesthetic data, those present in the aesthetic object and those found in aesthetic responses to the object. This study looks at the aesthetic data embodied in the sixth-century architectural structure and interior decoration of Hagia Sophia as well as in literary responses (ekphrasis) to the building. The purpose of the Byzantine ekphrasis was to convey by verbal means the same effects that the artefact itself would have caused. A literary analysis of these rhetorical descriptions recaptures the Byzantine perception and expectations, and at the same time reveals the cognitive processes triggered by the Great Church. The central aesthetic feature that emerges from sixth-century ekphraseis of Hagia Sophia is that of light. Light is described as the decisive element in the experience of the sacred space and light is simultaneously associated with the notion of wisdom. It is argued that the concepts of light and wisdom are interwoven programmatic elements that underlie the unique architecture and non-figurative decoration of Hagia Sophia. A similar concern for the phenomenon of light and its epistemological dimension is reflected in other contemporary monuments, testifying to the pervasiveness of these aesthetic values in early Byzantium.
Author: Robert G. Ousterhout
Publisher:
ISBN: 0190272732
Category : Architecture
Languages : en
Pages : 810
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Book Description
The rich and diverse architectural traditions of the Eastern Mediterranean and adjacent regions are the subject of this book, including the social and cultural developments of the Byzantine Empire, the Caucasus, the Balkans, and Russia, as well as parallel developments in Crusader and early Islamic architecture.
Author: Andrew Mellas
Publisher: Cambridge University Press
ISBN: 1108487599
Category : History
Languages : en
Pages : 219
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Book Description
Emotions in Byzantium came to life through hymnody, which invited the faithful to step into a liturgical world of compunction.
Author: Vladimir Ivanovici
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 3110418185
Category : Religion
Languages : en
Pages : 289
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Book Description
Using light as fil rouge reuniting theology and ritual with the architecture, decoration, and iconography of cultic spaces, the present study argues that the mise-en-scène of fifth-century baptism and sixth-century episcopal liturgy was meant to reproduce the luminous atmosphere of heaven. Analysing the material culture of the two sacraments against common ritual expectations and Christian theology, we evince the manner in which the luminous effect was reached through a combination of constructive techniques and perceptual manipulation. One nocturnal and one diurnal, the two ceremonials represented different scenarios, testifying to the capacity of church builders and willingness of Late Antique bishops to stage the ritual experience in order to offer God to the senses.
Author:
Publisher: BRILL
ISBN: 9004527982
Category : Art
Languages : en
Pages : 389
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Book Description
Inside Christian churches, natural light has been harnessed to underscore theological, symbolic, and ideological statements. This volume explores how the study of sunlight can reveal aspects of the design, decoration, and function of sacred spaces in the Middle Ages.
Author: Liz James
Publisher: Cambridge University Press
ISBN: 1108508596
Category : Art
Languages : en
Pages : 1748
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Book Description
In this book, Liz James offers a comprehensive history of wall mosaics produced in the European and Islamic middle ages. Taking into account a wide range of issues, including style and iconography, technique and material, and function and patronage, she examines mosaics within their historical context. She asks why the mosaic was such a popular medium and considers how mosaics work as historical 'documents' that tell us about attitudes and beliefs in the medieval world. The book is divided into two part. Part I explores the technical aspects of mosaics, including glass production, labour and materials, and costs. In Part II, James provides a chronological history of mosaics, charting the low and high points of mosaic art up until its abrupt end in the late middle ages. Written in a clear and engaging style, her book will serve as an essential resource for scholars and students of medieval mosaics.
Author: Anthony Kaldellis
Publisher: Oxford University Press
ISBN: 0197549322
Category : Byzantine Empire
Languages : en
Pages : 1169
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Book Description
"This is the first comprehensive, single-author history of the eastern Roman empire (or Byzantium) to appear in over a generation. It begins with the foundation of Constantinople in 324 AD and ends with the fall of the empire to the Ottoman Turks in the fifteenth century, covering political and military history as well as all major changes in religion, society, demography, and economy. In recent decades, the study of Byzantium has been revolutionized by new approaches and sophisticated models for how its society and state operated. The book's core is an accessible and lively narrative of events, free of jargon, which incorporates new findings, explains recent models, and presents well-known historical characters and events in new light. Two overarching themes shape the narrative. First, by projecting accountability the Roman state persuaded its subjects that it was working in their interests and thereby forestalled separatist movements. To do so, it had to restrain the tendency of elites to extract ever more resources from the labor-force. Second, the effort to sustain a common identity, both Roman and Christian, was subject to powerful forces of internal division and put under severe strain by western Europeans in the later Middle Ages. The book explains in detail the alternating periods of success and failure in the long history of this polity. It foregrounds the dynamics of Christian identity, asking why it tended to fracture along lines of doctrine, practice, and ultimately over Union with the Catholic West"--
Author: Bonnie L. Kutbay
Publisher: McFarland
ISBN: 1476653623
Category : Art
Languages : en
Pages : 201
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Book Description
From the third through the sixth centuries, the binding of Isaac saw a flourish of representation in Christian, Byzantine and Jewish art. These images engaged the viewer in a religious experience that highlighted sacrifice, salvation and liturgy, and reflected an increased visual richness of sacrificial and liturgical concepts. In contrast to earlier scholarship on the sacrifice of Isaac that offered general descriptions of the period and digressions on isolated images, this book presents the interpretation of specific works depicting the binding of Isaac by his father Abraham across time, examining the iconography, style, social context and purpose of the sacrifice in the artworks.
Author: Colum Hourihane
Publisher: Routledge
ISBN: 131529835X
Category : Art
Languages : en
Pages : 766
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Book Description
Sometimes enjoying considerable favor, sometimes less, iconography has been an essential element in medieval art historical studies since the beginning of the discipline. Some of the greatest art historians – including Mâle, Warburg, Panofsky, Morey, and Schapiro – have devoted their lives to understanding and structuring what exactly the subject matter of a work of medieval art can tell. Over the last thirty or so years, scholarship has seen the meaning and methodologies of the term considerably broadened. This companion provides a state-of-the-art assessment of the influence of the foremost iconographers, as well as the methodologies employed and themes that underpin the discipline. The first section focuses on influential thinkers in the field, while the second covers some of the best-known methodologies; the third, and largest section, looks at some of the major themes in medieval art. Taken together, the three sections include thirty-eight chapters, each of which deals with an individual topic. An introduction, historiographical evaluation, and bibliography accompany the individual essays. The authors are recognized experts in the field, and each essay includes original analyses and/or case studies which will hopefully open the field for future research.
Author: Niamh Bhalla
Publisher: Routledge
ISBN: 100042734X
Category : History
Languages : en
Pages : 398
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Book Description
Experiencing the Last Judgement opens up new ways of understanding a Byzantine image type that has hitherto been considered largely uniform in its manifestations and to a great extent frightening, coercive and paralysing. It moves beyond a purely didactic understanding of the Byzantine image of the Last Judgement, as a visual eschatological text to be ‘read’ and learned from, and proposes instead an appreciation of each unique image as a dynamic site to be experienced. Paintings, icons and mosaics from the tenth to the fourteenth century, from inside and outside of the Byzantine Empire, are placed within their specific socio-historical milieus, their immediate decorative programmes and their architectural contexts to demonstrate that each unique image constituted a carefully orchestrated and immersive experience of judgement. Each case study outlines the differences that exist in reality between these images that are often subsumed under one iconographic label, making a case against condensing dynamic, lived images into apparently static pictorial ‘types’. Images of the Last Judgement needed the body, mind and memory of the viewer for the creation of meaning, and so the experience of these images was unavoidably spatial, gendered, corporeal, mnemonic, emotional, rhetorical and most often liturgical. Unpacking Byzantine images of judgement in light of these various facets of experience for the first time helps to elucidate the interaction of past individuals with the image, and the ways in which such encounters were intended to benefit the communities that made and lived alongside them.
