Antje Bosselmann-Ruickbie
Justus-Liebig-University Giessen, Art History, Faculty Member
- Leibniz-Zentrum für Archäologie, Research, Department Memberadd
- Byzantine Studies, Byzantine and Other Medieval Jewellery, Historical Goldsmiths' Techniques, Byzantine Ornaments, Cultural Exchange In the Middle Ages, History, and 12 moreArt History, Late Antiquity, Material Culture of Byzantine /Medieval Magic, Byzantine Magical Amulets, Late Antique and Byzantine Jewellery, Medieval jewellery, Jewellery, Roman Jewellery, Archaeology of Personal Adornment, Ancient jewellery, Music, and Engineeringedit
- http://www.uni-giessen.de/fbz/fb04/institute/kunstgeschichte/personen/bosselmann-antje/index-htmledit
The Cathedral Treasury in Trier, Germany, houses a medieval silver-gilt casket that very likely has been in the collection at least since 1429. High-quality ornaments in filigree and granulation decorate its corpus and lid, while the... more
The Cathedral Treasury in Trier, Germany, houses a medieval silver-gilt casket that very likely has been in the collection at least since 1429. High-quality ornaments in filigree and granulation decorate its corpus and lid, while the bottom plate is densely chased with elegant medallions, scrolls and fabulous creatures. In the absence of figurative and epigraphic elements, research has struggled to determine the casket's provenance and date. To investigate its origin, it was thus essential to complement art historical approaches with analyses of the material composition and goldsmithing techniques. These were conducted at the Leibniz-Forschungsinstitut für Archäologie Mainz (LEIZA) within a research project funded by the Gerda Henkel Stiftung Düsseldorf. As a result, not only the integrity of the object, which had been questioned in the past, was verified, but also observations on particular technical elements added important arguments to determine the provenance of the silver casket. The Fatimid tradition of applying line granulation in grooves between two parallel wires in combination with comparisons of shape, style, and ornaments point to Sicily in the mid-twelfth to early thirteenth centuries. The casket was most likely produced in the Nobiles Officinae, the royal workshops at Palermo that blossomed under the Norman and Hohenstaufen rule, and appears to be the only survivor of its kind. This case study aims to demonstrate the potential of technical art history when it comes to the medium of goldsmiths' works, which have been relatively understudied using this perspective to date. *This article has been approved for publication by peer review.
https://issue-3.materiajournal.com/essay_bosselmann-ruickbie/
https://issue-3.materiajournal.com/essay_bosselmann-ruickbie/
Research Interests: Mediterranean Studies, Decorative Arts, Medieval Sicily, Fatimids, Norman Sicily, and 15 moreMedieval Art, History of Ornament, Sicily, Medieval Goldsmith`s Art, Silversmithing, Granulation, Workshops, Medieval Goldsmithery, Emperor Frederick II, Palermo, Fatimid Art and Architecture, Ornament studies, Medieval Southern Italy and Sicily, Medieval Caskets, and Historical Goldsmiths' Techniques
Evaluation of thirteenth-century enamels has proved to be difficult, and recent research has changed much of our understanding of enamels of this period. The two main object groups no longer serve as fixed points of reference, and other... more
Evaluation of thirteenth-century enamels has proved to be difficult, and recent research has changed much of our understanding of enamels of this period. The two main object groups no longer serve as fixed points of reference, and other enamels display different stylistic trends, with rather traditional enamels on the one hand and innovative objects on the other. As a result, there is no such thing as ‘typical thirteenth-century enamel’, and more research in this field will be necessary.
Research Interests: Late Antique and Byzantine Studies, Material Culture Studies, Medieval Archaeology, Byzantine Studies, Byzantine Archaeology, and 15 moreDecorative Arts, Medieval Sicily, Medieval Art, Byzantium, Material Culture, Constantinople, Late Antiquity and Byzantium (History and Art), Byzantine Art and Archaeolgy, Byzantine art, Enamel, Byzantine glass, Cloisonné Enamels, Medieval Southern Italy and Sicily, Byzantine Minor Arts, and Medieval Enamels
Research Interests: Medieval History, Alchemy, Byzantine Studies, Byzantine Archaeology, Byzantine art, and 8 moreMedieval Goldsmith`s Art, Technical Art History, Ancient Goldsmith Techniques, History of alchemy, Medieval Goldsmithery, Materials and Technology of Medieval Craftsmen, Byzantine Alchemy, and Byzantine goldsmiths' works
Research Interests:
Link to the video: https://www.youtube.com/watch?v=wysrU0h9-OQ -------- Playlist for the paper: https://open.spotify.com/playlist/5rfwKnFjtpSWoOJZINwXSg -------- Paper for Conference "Heavy Metal & Global Premodernity", Brandeis... more
Link to the video: https://www.youtube.com/watch?v=wysrU0h9-OQ -------- Playlist for the paper: https://open.spotify.com/playlist/5rfwKnFjtpSWoOJZINwXSg -------- Paper for Conference "Heavy Metal & Global Premodernity", Brandeis University, 24-26 February 2022, organised by Jeremy Swist and Charlotte Nayor Davis --------- www.brandeis.edu/classics/heavy-metal-and-global-premodernity/index.html -------- Playlist for the conference: https://open.spotify.com/playlist/0173xFeABCpQvcGmurKFu6
Research Interests: Late Antique and Byzantine Studies, Medieval History, Medieval Studies, Byzantine Studies, Byzantine History, and 9 moreMetal Studies, Byzantium, Constantinople, Pagan/Christian Relations in the Early Middle Ages, Middle Ages, Heavy Metal Music, Heavy Metal music and culture, Metal Music Studies, and Heavy Metal Music Studies
Autour des métiers du luxe à Byzance. Actes du colloque international organisé dans le cadre de l'exposition "Byzance en Suisse", 26-27 février 2016, Musée d'art et d'histoire et Université de Genève Sous la direction de Marielle... more
Autour des métiers du luxe à Byzance. Actes du colloque international organisé dans le cadre de l'exposition "Byzance en Suisse", 26-27 février 2016, Musée d'art et d'histoire et Université de Genève Sous la direction de Marielle Martiniani-Reber, André-Louis Rey et Gabriella Lini, avec la collaboration de Nicole Liaudet
https://collections.geneve.ch/mah/publication/palaeologan-luxury-art-period-decline-byzantine-enamel-thirteenth-and-fourteenth
https://collections.geneve.ch/mah/publication/palaeologan-luxury-art-period-decline-byzantine-enamel-thirteenth-and-fourteenth
Research Interests: Byzantine Studies, Byzantine Archaeology, Byzantium, Byzantine Art and Archaeolgy, Medieval Goldsmith`s Art, and 7 moreCloisonné Enamels, Champlevé Enamels, Late Antique and Byzantine Archaeology, Architecture and History of Art, Byzantine Enamel, Palaeologan Art, Byzantine enamels, and Byzantine craftsmanship
On the occasion of the 700th anniversary of the death of the Holy Serbian King Stefan Uroš II Milutin (1282 ˗ 1321), the University of Kragujevac within the project EuroWeb COST Action 19131, Institute for liturgy and sacred arts -... more
On the occasion of the 700th anniversary of the death of the Holy Serbian King Stefan Uroš II Milutin (1282 ˗ 1321), the University of Kragujevac within the project EuroWeb COST Action 19131, Institute for liturgy and sacred arts - Faculty of Orthodox Theology University of Belgrade, Koç University in Istanbul, Aristotle University of Thessaloniki, Institute for Strategic Research of the Republic of Serbia, Serbian Cultural Information Center SPONA from Skopje, with the blessing of the Holy Synod of Bishops of the Serbian Orthodox Church, are organizing an international, interdisciplinary scientific conference from October 24 to 26, 2021 King Milutin and the Palaeologan Age: History, Literature, Cultural Heritage.
The reign of king Milutin (r. 1282-1321) represents a period of dynamic political and cultural interactions between Serbia and the Byzantine Empire under the Palaeologan dynasty. The conference King Milutin and the Palaeologan Age: History, Literature, Cultural Heritage aims to examine the wider historical, cultural and political context of these interactions and explore their impact on artistic and literary production in Serbia and Byzantium at that time. Along with military interventions that enlarged the territories of the Serbian medieval state, king Milutin and his entourage spurred extensive building and artistic activity, inviting the best Byzantine masons and artists to work for them. Thus, king Milutin’s reign was crucial in the development of architectural and artistic ideas that mark both Serbian and Byzantine art of the fourteenth century. Today the artistic achievements of king Milutin’s era are visible only in a limited number of preserved monuments and these reflect conspicuous influencе from the capital, Constantinople.
The thematic strands of the conference relate to history, architecture, wall paintings, illuminated manuscripts, clothing identity between Constantinople, East and West, liturgical textiles, textile history, the question of ruler’s tomb and his sanctity, gender history, literature, archival science, astronomy, sacral chanting, and the theological context of the period. We expect the participation of historians, art and architectural historians, archaeologists, historians of literature, theologians and all leading scholars in their fields who will bring new perspectives on the conference theme.
Deadline for submitting an abstract of 300 to 500 words is May 6, 2021.
Authors are invited to submit their abstracts to the following e-mail address: kingmilutinconference@gmail.com.
Presentations are limited to 20 minutes. The official languages of the scientific conference are Serbian and English. The book of abstracts will be published before the scientific conference and the thematic collection of reviewed papers after the conference. Deadline for submitting the articles for review in a special thematic collection is January 31, 2022.
We are looking forward to receiving your proposals and seeing you in Skopje. If for any reason we are prevented from organizing in-person gathering, the conference will be organized online.
On behalf of the Organizing Committee,
Dr Jasmina S. Ćirić, Assistant Professor
University of Kragujevac (Serbia), The Faculty of Philology and Arts
Department of Applied Arts - Department of General Education
#kingmilutinconference2021
#EuroWeb #COST #COSTAction19131
The reign of king Milutin (r. 1282-1321) represents a period of dynamic political and cultural interactions between Serbia and the Byzantine Empire under the Palaeologan dynasty. The conference King Milutin and the Palaeologan Age: History, Literature, Cultural Heritage aims to examine the wider historical, cultural and political context of these interactions and explore their impact on artistic and literary production in Serbia and Byzantium at that time. Along with military interventions that enlarged the territories of the Serbian medieval state, king Milutin and his entourage spurred extensive building and artistic activity, inviting the best Byzantine masons and artists to work for them. Thus, king Milutin’s reign was crucial in the development of architectural and artistic ideas that mark both Serbian and Byzantine art of the fourteenth century. Today the artistic achievements of king Milutin’s era are visible only in a limited number of preserved monuments and these reflect conspicuous influencе from the capital, Constantinople.
The thematic strands of the conference relate to history, architecture, wall paintings, illuminated manuscripts, clothing identity between Constantinople, East and West, liturgical textiles, textile history, the question of ruler’s tomb and his sanctity, gender history, literature, archival science, astronomy, sacral chanting, and the theological context of the period. We expect the participation of historians, art and architectural historians, archaeologists, historians of literature, theologians and all leading scholars in their fields who will bring new perspectives on the conference theme.
Deadline for submitting an abstract of 300 to 500 words is May 6, 2021.
Authors are invited to submit their abstracts to the following e-mail address: kingmilutinconference@gmail.com.
Presentations are limited to 20 minutes. The official languages of the scientific conference are Serbian and English. The book of abstracts will be published before the scientific conference and the thematic collection of reviewed papers after the conference. Deadline for submitting the articles for review in a special thematic collection is January 31, 2022.
We are looking forward to receiving your proposals and seeing you in Skopje. If for any reason we are prevented from organizing in-person gathering, the conference will be organized online.
On behalf of the Organizing Committee,
Dr Jasmina S. Ćirić, Assistant Professor
University of Kragujevac (Serbia), The Faculty of Philology and Arts
Department of Applied Arts - Department of General Education
#kingmilutinconference2021
#EuroWeb #COST #COSTAction19131
Research Interests:
Bosselmann-Ruickbie, Antje: Byzantinisierende Emails mit lateinischen Inschriften auf einer Mitra des 15. Jahrhunderts aus Linköping (heute Stockholm): Lateinerzeitliches Konstantinopel oder Sizilien um 1300? Zur mittelalterlichen Emailkunst und Aspekten von „Kulturtransfer“ im Mittelalter (2020).more
Research Interests: Byzantine Studies, Medieval Sicily, Sicily, Medieval Palermo, Byzantine art, and 15 moreMedieval Goldsmith`s Art, Late Antique and Byzantine Jewellery, Goldsmithing, Cloisonné Enamels, Latin Empire of Constantinople, Emaux, BYZANTIUM AND THE WEST, Byzantine Enamel, Sizilien, Italian medieval enamel, Medieval Enamels, Byzantine goldsmiths' works, Émaux Médievaux, Frederick II Staufer, and medieval goldsmithing
Research Interests: Byzantine Studies, Byzantine Archaeology, Medieval Magic, Metal Casting, Byzantine Magic, and 9 moreDie-casting, Medieval Goldsmith`s Art, Medieval Goldsmithery, Byzantine Women, Byzantine Magical Amulets, Medieval Goldsmith, Byzantine goldsmiths' works, Byzantine amulets, and Byzantine Religious History
Research Interests:
Research Interests:
This volume comprises thirteen papers from the conference ‘New Research on Late Byzantine Goldsmiths‘ Works (13th to 15th Centuries)’, held in the Römisch-Germanisches Zentralmuseum Mainz in October 2019. The contributions primarily deal... more
This volume comprises thirteen papers from the conference ‘New Research on Late Byzantine Goldsmiths‘ Works (13th to 15th Centuries)’, held in the Römisch-Germanisches Zentralmuseum Mainz in October 2019. The contributions primarily deal with the material culture of goldsmiths’ works, such as crosses, reliquary caskets, jewellery, enamel works, and precious stones, spanning the wide geographical area of Byzantium and many of its neighbours, from Russia via Trebizond and Serbia to Crete. Furthermore, written sources on Byzantine goldsmiths, their craft and the provenance of precious metals provide evidence for goldsmithing in Byzantium throughout its history.
With contributions by Andreas Rhoby, Paul Hetherington, Olga Shashina, Martin Dennert, Sabrina Schäfer, Anastasios Antonaras, Antje Steinert, Jessica Schmidt, Nikos Kontogiannis, Vana Orfanou, Holger Kempkens, Irina A. Sterligova, Vesna Bikić and Martina Horn.
With contributions by Andreas Rhoby, Paul Hetherington, Olga Shashina, Martin Dennert, Sabrina Schäfer, Anastasios Antonaras, Antje Steinert, Jessica Schmidt, Nikos Kontogiannis, Vana Orfanou, Holger Kempkens, Irina A. Sterligova, Vesna Bikić and Martina Horn.
Research Interests: Byzantine Studies, Byzantine Iconography, Engraved gems, Byzantine Mistras, Medieval Serbia, and 14 moreByzantine Art and Archaeolgy, Medieval Goldsmith`s Art, THESSALONIKI, Byzantine Icons, Ancient Goldsmith Techniques, Chalcis, Byantine Art, Byzantine Trebizond, Cross-Cultural Exchange In the Medieval Mediterranean, Russian Medieval Art, Wall Paintings In Byzantine Crete, Byzantine goldsmiths' works, medieval goldsmithing, and Venetian goldsmiths' works
The filigree on the Bessarion Cross is comparable to objects attributable to Russia and Sicily and was probably inspired by Islamic goldsmiths’ works, as can be shown by the example of the Trier Casket. The genesis of the particular... more
The filigree on the Bessarion Cross is comparable to objects attributable to Russia and Sicily and was probably inspired by Islamic
goldsmiths’ works, as can be shown by the example of the Trier Casket. The genesis of the particular filigree is traceable to Mamluk Egypt as well as the art of the Golden Horde, and it is probably not a Byzantine invention. On the other hand, the ornaments on the sides of the Bessarion Cross (and on the frame of the famous Esztergom
Staurotheke, which should be dated to the same time as the Bessarion Cross) take up a Western motif that developed in the first half of the 14th century and can be followed back to Gothic tracery. From the
1330s or 1340s, ornaments similar to the Bessarion Cross appear in Western goldsmiths’ works.
At first glance, the historical dating of the cross to 1347-1354
seems too early, as researchers usually tend to allow a couple of decades for a motif to migrate. That means that the ornament on the sides of the cross would have probably been dated stylistically rather towards the end of the 14th century, if there were no other clues for dating.
Nevertheless, it is possible for the ornament to appear at this point in time in Byzantium, i.e., the mid-14th century. As demonstrated here, ornaments are not as ‘elusive’ as has often been assumed and can be used as an important means for dating and attribution, as well as an indicator for the complex processes of cultural exchange in the Middle Ages. An important result of this paper is that, on the basis of the historical dating of the Bessarion Cross, it can be concluded that new fashions from the West, Islamic neighbours as well as the East, can be shown to have been assimilated rapidly in Byzantium.
It remains to conclude that the Bessarion Cross is an important object that provides evidence for the vivid transfer of taste and fashions between the leading Mediterranean and Asian cultures in the 14th century.
goldsmiths’ works, as can be shown by the example of the Trier Casket. The genesis of the particular filigree is traceable to Mamluk Egypt as well as the art of the Golden Horde, and it is probably not a Byzantine invention. On the other hand, the ornaments on the sides of the Bessarion Cross (and on the frame of the famous Esztergom
Staurotheke, which should be dated to the same time as the Bessarion Cross) take up a Western motif that developed in the first half of the 14th century and can be followed back to Gothic tracery. From the
1330s or 1340s, ornaments similar to the Bessarion Cross appear in Western goldsmiths’ works.
At first glance, the historical dating of the cross to 1347-1354
seems too early, as researchers usually tend to allow a couple of decades for a motif to migrate. That means that the ornament on the sides of the cross would have probably been dated stylistically rather towards the end of the 14th century, if there were no other clues for dating.
Nevertheless, it is possible for the ornament to appear at this point in time in Byzantium, i.e., the mid-14th century. As demonstrated here, ornaments are not as ‘elusive’ as has often been assumed and can be used as an important means for dating and attribution, as well as an indicator for the complex processes of cultural exchange in the Middle Ages. An important result of this paper is that, on the basis of the historical dating of the Bessarion Cross, it can be concluded that new fashions from the West, Islamic neighbours as well as the East, can be shown to have been assimilated rapidly in Byzantium.
It remains to conclude that the Bessarion Cross is an important object that provides evidence for the vivid transfer of taste and fashions between the leading Mediterranean and Asian cultures in the 14th century.
Research Interests: Cultural Transfer Studies, Byzantine Studies, Cross-cultural transfers, Islamic ornaments, Byzantine Art and Archaeolgy, and 10 moreByzantine art, Medieval Goldsmith`s Art, Bessarion, Byzantine, Western Medieval, and Islamic Art & Architecture, Medieval Art and Architecture of the South Caucasus, Late Antique and Medieval Visual Culture, Medieval Goldsmithery, Bessarione, Byzantine Goldwork, Byzantine Ornaments, Cardinal Bessarion, and Byzantine goldsmiths' works
Bosselmann-Ruickbie: Heavy Metal Meets Byzantium! Contact Between Scandinavia and Byzantium in the Albums ‘The Varangian Way’ (2007) and ‘Stand Up and Fight’ (2011) by the Finnish Band Turisas. In: Daim et al., Wege der Kommunikation zwischen Byzanz und dem Westen 2, BOO 9.2 (Mainz 2018) 391-419.more
Research Interests:
Bosselmann-Ruickbie, Antje: Contact between Byzantium and the West from the 9th to the 15th Century and Their Reflections in Goldsmiths’ Works and Enamels, in: Menschen, Bilder, Sprache, Dinge. Wege der Kommunikation zwischen Byzanz und... more
Bosselmann-Ruickbie, Antje: Contact between Byzantium and the West from the 9th to the 15th Century and Their Reflections in Goldsmiths’ Works and Enamels, in: Menschen, Bilder, Sprache, Dinge. Wege der Kommunikation zwischen Byzanz und dem Westen. Bd. 1: Bilder und Dinge. Studien zur Ausstellung "Byzanz & der Westen. 1000 vergessene Jahre", hg. von Falko Daim, Dominik Heher und Claudia Rapp. Byzanz zwischen Orient und Okzident 9.1, Mainz 2018, 73-104.
Research Interests:
The Ornamental Decoration of the Late Byzantine Bessarion Cross: Medieval Cultural Transfer between Byzantium, the West, the Islamic World and Russia, in: La Stauroteca di Bessarione fra Constantinopoli e Venezia, hg. von Holger A. Klein,... more
The Ornamental Decoration of the Late Byzantine Bessarion Cross: Medieval Cultural Transfer between Byzantium, the West, the Islamic World and Russia, in: La Stauroteca di Bessarione fra Constantinopoli e Venezia, hg. von Holger A. Klein, Valeria Poletto und Peter Schreiner. Istituto Veneto di Scienze, Lettere ed Arti, Venedig 2017, 183-224.
Research Interests:
A Byzantine Casting Mould for a Hystera (Womb) Amulet and a Cross in the Museum Schnütgen, Cologne: A Contribution to the Cultural and Religious History of Byzantium and the Material Culture of Byzantine Magic, in: Lebenswelten zwischen... more
A Byzantine Casting Mould for a Hystera (Womb) Amulet and a Cross in the Museum Schnütgen, Cologne: A Contribution to the Cultural and Religious History of Byzantium and the Material Culture of Byzantine Magic, in: Lebenswelten zwischen Archäologie und Geschichte. Festschrift für Falko Daim zu seinem 65. Geburtstag. RGZM Monographien 150, hg. von J. Drauschke, E. Kislinger, K. Kühtreiber, T. Kühtreiber, G. Scharrer-Liška, T. Vida, Mainz 2018, 629-644.
A Byzantine casting mould in Cologne comprises cavities for eight pendants, amongst them a pendant cross and a »pagan« hystera amulet with a womb demon made to protect the ability of procreation. The context and provenance of the mould are unknown, but comparisons suggest a date in the 12th-14th centuries. However, since hystera amulets are usually dated earlier, to the 10th-12th centuries, the mould thus represents the latest material evidence for hystera amulets in Byzantium. This demonstrates the continued use of »pagan« amulets, predominantly known through literary evidence. Throughout Byzantine history, amulet wearing had been fervently fought by the church, but also by the state since Constantine the Great. Amulet making was then explicitly prohibited in the 8th-century Ecloga. Nevertheless, this mould also served to cast a Christian cross in the same workshop, thus making it a unique and fascinating object, which provides a revealing insight into the cultural and religious history of Byzantium.
A Byzantine casting mould in Cologne comprises cavities for eight pendants, amongst them a pendant cross and a »pagan« hystera amulet with a womb demon made to protect the ability of procreation. The context and provenance of the mould are unknown, but comparisons suggest a date in the 12th-14th centuries. However, since hystera amulets are usually dated earlier, to the 10th-12th centuries, the mould thus represents the latest material evidence for hystera amulets in Byzantium. This demonstrates the continued use of »pagan« amulets, predominantly known through literary evidence. Throughout Byzantine history, amulet wearing had been fervently fought by the church, but also by the state since Constantine the Great. Amulet making was then explicitly prohibited in the 8th-century Ecloga. Nevertheless, this mould also served to cast a Christian cross in the same workshop, thus making it a unique and fascinating object, which provides a revealing insight into the cultural and religious history of Byzantium.
Research Interests:
Research Interests:
Just as their ancient predecessors, the Byzantines were interested in the symbolism of precious stones and their properties of healing and protection. Although we are informed about the properties of gemstones through written sources,... more
Just as their ancient predecessors, the Byzantines were interested in the symbolism of precious stones and their properties of healing and protection. Although we are informed about the properties of gemstones through written sources, only a few examples corroborate these texts with inscriptions referring to the materiality of the gemstone. A 12th-/13th-century amethyst cameo in Vatopaidi Monastery on Mount Athos (fig. 2a-b) that is set in a silver-gilt frame refers in its inscription to the gemstone's name and its assumed ability to protect the wearer from inebriation. Bloodstone was related to blood because of its colour. An early Byzantine cameo in the Metropolitan Museum of New York (fig. 3a-b) demonstrates the relation between the materiality of the stone and the iconography as well as the inscription, since it shows the »Woman with the issue of blood« mentioned in the Bible. In other cases, the properties of precious stones and their symbolism can only be deduced, for example, when a red transparent stone is set in the centre of a cross,
possibly referring to the blood of Christ, on whose symbolised instrument of torture the stone is placed. This demonstrates what is known from written sources, especially Michael Psellos’ writings, that the Byzantines were aware of the much older concept of sympathetic relations, of the concept of »like affects like«, or in the social anthropologist Frazer’s (1854-1941) coinage, »sympathetic magic«. The amulets fit Frazer’s »Law of Similarity« category of »sympathetic magic«: the physical similarities of the gemstones – violet like wine, dotted with red like blood – are the key to their interpretation, which can be corroborated by their inscriptions. Byzantine philosophers such as Psellos adapted these concepts to Christian orthodox teachings and consequently had no issue with the amuletic use of gemstones.
possibly referring to the blood of Christ, on whose symbolised instrument of torture the stone is placed. This demonstrates what is known from written sources, especially Michael Psellos’ writings, that the Byzantines were aware of the much older concept of sympathetic relations, of the concept of »like affects like«, or in the social anthropologist Frazer’s (1854-1941) coinage, »sympathetic magic«. The amulets fit Frazer’s »Law of Similarity« category of »sympathetic magic«: the physical similarities of the gemstones – violet like wine, dotted with red like blood – are the key to their interpretation, which can be corroborated by their inscriptions. Byzantine philosophers such as Psellos adapted these concepts to Christian orthodox teachings and consequently had no issue with the amuletic use of gemstones.
Research Interests: Late Antique and Byzantine Studies, Byzantine Literature, Magic, Medieval Archaeology, Byzantine Studies, and 9 moreByzantine Iconography, Byzantine Archaeology, Medieval Magic, Ancient magic, Material culture of folk magic, Byzantine art, Byzantine Magical Amulets, Religious and Magical Practices, and Material Culture of Byzantine /Medieval Magic
Research Interests:
Research Interests:
Research Interests:
"Study of Theophilus' tractate in comparison with Byzantine goldsmiths' work as well as written sources such as an 11th century tractate with 69 recipes for goldsmiths by an anonymus Byzantine author. Several goldsmiths' techniques were... more
"Study of Theophilus' tractate in comparison with Byzantine goldsmiths' work as well as written sources such as an 11th century tractate with 69 recipes for goldsmiths by an anonymus Byzantine author. Several goldsmiths' techniques were chosen as case studies such as wire drawing, enamelling and niello.
The result is that Theophilus' work had no direct influence on Byzantine goldsmiths since their craftmenship was based on their own traditions, however, drawing from the same antique and late antique sources as Theophilus."
The result is that Theophilus' work had no direct influence on Byzantine goldsmiths since their craftmenship was based on their own traditions, however, drawing from the same antique and late antique sources as Theophilus."
Covering, protecting, and adorning the body count among the most fundamental of human concerns, at once conveying aspects of an individual's persona while also situating a person within a given social context. Wearable adornment... more
Covering, protecting, and adorning the body count among the most fundamental of human concerns, at once conveying aspects of an individual's persona while also situating a person within a given social context. Wearable adornment encompasses materials fashioned by human hands (like fabric, metalwork, or even animal bones) and modifications to the body itself (such as tattoos, cosmetics, or hairstyles), which beautify the body while simultaneously conveying social, political, and protective functions and meanings. The wearable is thus the most representational and at the same time most intimate product of material culture. This conference seeks to expand our current understanding of the wearable in the Middle Ages. Current scholarship on the topic in Byzantine, western medieval, Eurasian art, as well as Islamic traditions tends to encompass clothing and jewelry, and is frequently medium-specific, with minimal regard to the interrelatedness of different aspects of appearance. On the one hand, work on medieval textiles has tended to approach questions of identity, consumption, and appearance by comparing textual sources and visual depictions with surviving textiles. The study of medieval jewelry, on the other hand, largely focuses on the classification and attribution of precious metal pieces from excavations and museum collections, as scholars make sense of pieces long removed from the bodies they once adorned. Tattoos, prosthetics, cosmetics and headgear are almost entirely absent in our understandings of medieval dress practices. This separation was not always so, however, and indeed nineteenth-century art historians such as Gottfried Semper integrated all aspects of bodily adornment in their considerations of the nature of ornamentation and surface decoration.
Research Interests: Art History, History of Dress, Medieval History, Chinese Studies, Medieval Studies, and 11 moreHistory of Textiles, Eurasian Nomads, Fashion History, Islamic Art, Byzantine Studies, Dress and the Body, Medieval Art, Early and Medieval Islamic Art and Architecture, Historical Textiles, Medieval Art History, and Byzantine art
Seit 1440 bewahrt der Freisinger Domschatz eine byzantinische Ikone mit kostbarer Metallverkleidung, die der Legende nach vom Evangelisten Lukas gemalt worden sein soll. Ihre Ursprünge und späteren Umgestaltungen sowie der weite Reiseweg... more
Seit 1440 bewahrt der Freisinger Domschatz eine byzantinische Ikone mit kostbarer Metallverkleidung, die der Legende nach vom Evangelisten Lukas gemalt worden sein soll. Ihre Ursprünge und späteren Umgestaltungen sowie der weite Reiseweg mit den Stationen Thessaloniki, Konstantinopel, Mailand, England und Wien sind zwar grundsätzlich bekannt, jedoch bedarf diese prominente Ikone dringend weiterer aktueller Forschungen mit neuesten Methoden, da vieles noch im Dunkeln liegt.
Anlässlich des Symposiums wurden erstmals grundlegende kunsttechnologische Analysen von Holz, Malerei, Metall und Emails durch die ETH Zürich, TU München, Lehrstuhl für Restaurierung, Kunsttechnologie und Konservierungswissenschaft, die Archäologische Staatssammlung München, das Doerner Institut sowie das Institut für Bestandserhaltung und Restaurierung (IBR) der Bayerischen Staatsbibliothek München durchgeführt. Eine internationale Gruppe von HistorikerInnen, Kunst- und KulturwissenschaftlerInnen wie auch TheologInnen haben sich nun von neuem intensiv mit der Ikone und all ihren Aspekten beschäftigt. Die Ergebnisse ihrer Forschungen werden im Rahmen des zweitägigen Symposiums präsentiert.
Programm:
Donnerstag 21. April 2016
9.15-9.30 Uhr
Begrüßung Dr. Christoph Kürzeder, Diözesanmuseum Freising
Einführung in das Tagungsthema Dr. Antje Bosselmann-Ruickbie, Johannes Gutenberg-Universität Mainz, und Dr. Carmen Roll, Diözesanmuseum Freising
9.30-10.00 Uhr
Der Weg der Lukasikone von Mailand nach Freising
Prof. Dr. Claudia Märtl, Ludwig-Maximilians-Universität München
10.00-10.30 Uhr
Kaiser Manuel Palaiologos und seine Reise in den Westen
Prof. Dr. Albrecht Berger, Ludwig-Maximilians-Universität München
10.30-11.00 Uhr Kaffeepause
11.00-11.30 Uhr
Das Inschriftenprogramm der Freisinger Lukasikone
PD Dr. Andreas Rhoby, Österreichische Akademie der Wissenschaften Wien
11.30-12.00 Uhr
Die dem heiligen Lukas zugeschriebenen Marienbilder und ihre Verbreitung nördlich der Alpen im Mittelalter
Prof. Dr. Michele Bacci, Universität Fribourg
12.00-14.00 Uhr Mittagspause
14.00-14.30 Uhr
Die Theologie der Ikone
PD Dr. Dr. Thomas Mark Németh, Julius-Maximilians-Universität Würzburg
14.30-15.00 Uhr
Zur Adaption byzantinischer Marienbilder im Westen
PD Dr. Ulrike Koenen, Martin-Luther-Universität Halle-Wittenberg
15.00-15.30 Uhr Kaffeepause
15.30-16.00 Uhr
Kunsttechnische Beobachtungen am Freisinger Lukasbild
Dr. phil. Dipl. Rest. Cristina Thieme, Dipl. Rest. Luise Sand, TU München, Lehrstuhl für Restaurierung, Kunsttechnologie und Konservierungswissenschaft
16.00-16.30 Uhr
Ein Palimpsest - die Malerei der Hagiosoritissa
Prof. Dr. Barbara Schellewald, Universität Basel
17.00-18.00 Uhr Domberg- und Domführungen in Gruppen
18.00-19.30 Uhr Abendessen
19.30 Uhr Feierliche Marienvesper mit Chor und Orchester
20.30-22.00 Uhr Empfang für die Tagungsteilnehmer
Freitag 22. April 2016
9.30-10.00 Uhr
A propos des revêtements d'orfèvrerie des icônes byzantines à l'époque des Paléologues
Dr. Jannic Durand, Musée du Louvre Paris
10.00-10.30 Uhr
Rahmen und Beschlag des Freisinger Lukasbildes: Untersuchungen zur Ornamentik in Byzanz
Dr. Antje Bosselmann-Ruickbie, Johannes Gutenberg-Universität Mainz
10.30-11.00 Uhr Kaffeepause
11.00-11.30 Uhr
Technologische und materialanalytische Untersuchung der Metalle und Emails des Rahmenbeschlags der Freisinger Lukasikone
PD Dr. Heike Stege, Doerner Institut München
Rest. BA Shimon Mahnke, Archäologische Staatssammlung München
Dipl. Rest. Alexander Grillparzer, TU München, Lehrstuhl für Restaurierung, Kunsttechnologie und Konservierungswissenschaft
11.30-12.00 Uhr
On the Enamels of the Freising Icon: Technological Features
Dr. Olga Shashina, Kremlin Museums Moskau
On the Enamels of the Freising Icon: Historical Background, Repertoire and Style
Dr. Irina Sterligova, Kremlin Museums Moskau
12.00-13.30 Uhr Mittagessen
13.30-14.00 Uhr
Die Reliquie im Zeitalter ihrer technischen Reproduzierbarkeit. Authentie und Medialisierung
Prof. Dr. Marc-Aeilko Aris, Ludwig-Maximilians-Universität München
14.00-14.30 Uhr
Vom Korbinians- zum Mariendom? Zur Programmatik der ersten barocken Renovatio
Dr. Meinrad von Engelberg, Universität Darmstadt
14.30-15.00 Uhr Kaffeepause
15.00-15.30 Uhr
Die barocke Silberrahmung für die Lukasikone. Ein Werk des Münchner Goldschmieds Gottfried Lang aus dem Jahr 1629
Dr. Annette Schommers, Bayerisches Nationalmuseum München
15.30-16.00 Uhr
Mittelalterliche Kunst in Barockkirchen. Zur Inszenierung historischer Legitimationsargumente in Süddeutschland
Dr. Tobias Kunz, Bode Museum Berlin
16.00-16.30 Uhr Abschlussdiskussion
Veranstalter:
Diözesanmuseum Freising
Direktor Dr. Christoph Kürzeder
Domberg 21
85354 Freising
08161-48790
info@dimu-freising.de
www.dimu-freising.de
Tagungsleitung
Dr. Antje Bosselmann-Ruickbie, Johannes Gutenberg-Universität Mainz
Dr. Carmen Roll, Diözesanmuseum Freising
Beteiligte Institutionen
Archäologische Staatssammlung München
Doerner Institut München
Domkirchenstiftung Freising
Johannes Gutenberg-Universität Mainz, Abteilung Christliche Archäologie und Byzantinische Kunstgeschichte
Institut für Bestandserhaltung und Restaurierung (IBR) der Bayerischen Staatsbibliothek München
TU München, Lehrstuhl für Restaurierung, Kunsttechnologie und Konservierungswissenschaft
Veranstaltungsort
Kardinal-Döpfner-Haus, Aula
Domberg 27, 85354 Freising
Die Teilnehmerzahl ist beschränkt. Anmeldung bis 7. April
Weitere Informationen beim Veranstalter
Anlässlich des Symposiums wurden erstmals grundlegende kunsttechnologische Analysen von Holz, Malerei, Metall und Emails durch die ETH Zürich, TU München, Lehrstuhl für Restaurierung, Kunsttechnologie und Konservierungswissenschaft, die Archäologische Staatssammlung München, das Doerner Institut sowie das Institut für Bestandserhaltung und Restaurierung (IBR) der Bayerischen Staatsbibliothek München durchgeführt. Eine internationale Gruppe von HistorikerInnen, Kunst- und KulturwissenschaftlerInnen wie auch TheologInnen haben sich nun von neuem intensiv mit der Ikone und all ihren Aspekten beschäftigt. Die Ergebnisse ihrer Forschungen werden im Rahmen des zweitägigen Symposiums präsentiert.
Programm:
Donnerstag 21. April 2016
9.15-9.30 Uhr
Begrüßung Dr. Christoph Kürzeder, Diözesanmuseum Freising
Einführung in das Tagungsthema Dr. Antje Bosselmann-Ruickbie, Johannes Gutenberg-Universität Mainz, und Dr. Carmen Roll, Diözesanmuseum Freising
9.30-10.00 Uhr
Der Weg der Lukasikone von Mailand nach Freising
Prof. Dr. Claudia Märtl, Ludwig-Maximilians-Universität München
10.00-10.30 Uhr
Kaiser Manuel Palaiologos und seine Reise in den Westen
Prof. Dr. Albrecht Berger, Ludwig-Maximilians-Universität München
10.30-11.00 Uhr Kaffeepause
11.00-11.30 Uhr
Das Inschriftenprogramm der Freisinger Lukasikone
PD Dr. Andreas Rhoby, Österreichische Akademie der Wissenschaften Wien
11.30-12.00 Uhr
Die dem heiligen Lukas zugeschriebenen Marienbilder und ihre Verbreitung nördlich der Alpen im Mittelalter
Prof. Dr. Michele Bacci, Universität Fribourg
12.00-14.00 Uhr Mittagspause
14.00-14.30 Uhr
Die Theologie der Ikone
PD Dr. Dr. Thomas Mark Németh, Julius-Maximilians-Universität Würzburg
14.30-15.00 Uhr
Zur Adaption byzantinischer Marienbilder im Westen
PD Dr. Ulrike Koenen, Martin-Luther-Universität Halle-Wittenberg
15.00-15.30 Uhr Kaffeepause
15.30-16.00 Uhr
Kunsttechnische Beobachtungen am Freisinger Lukasbild
Dr. phil. Dipl. Rest. Cristina Thieme, Dipl. Rest. Luise Sand, TU München, Lehrstuhl für Restaurierung, Kunsttechnologie und Konservierungswissenschaft
16.00-16.30 Uhr
Ein Palimpsest - die Malerei der Hagiosoritissa
Prof. Dr. Barbara Schellewald, Universität Basel
17.00-18.00 Uhr Domberg- und Domführungen in Gruppen
18.00-19.30 Uhr Abendessen
19.30 Uhr Feierliche Marienvesper mit Chor und Orchester
20.30-22.00 Uhr Empfang für die Tagungsteilnehmer
Freitag 22. April 2016
9.30-10.00 Uhr
A propos des revêtements d'orfèvrerie des icônes byzantines à l'époque des Paléologues
Dr. Jannic Durand, Musée du Louvre Paris
10.00-10.30 Uhr
Rahmen und Beschlag des Freisinger Lukasbildes: Untersuchungen zur Ornamentik in Byzanz
Dr. Antje Bosselmann-Ruickbie, Johannes Gutenberg-Universität Mainz
10.30-11.00 Uhr Kaffeepause
11.00-11.30 Uhr
Technologische und materialanalytische Untersuchung der Metalle und Emails des Rahmenbeschlags der Freisinger Lukasikone
PD Dr. Heike Stege, Doerner Institut München
Rest. BA Shimon Mahnke, Archäologische Staatssammlung München
Dipl. Rest. Alexander Grillparzer, TU München, Lehrstuhl für Restaurierung, Kunsttechnologie und Konservierungswissenschaft
11.30-12.00 Uhr
On the Enamels of the Freising Icon: Technological Features
Dr. Olga Shashina, Kremlin Museums Moskau
On the Enamels of the Freising Icon: Historical Background, Repertoire and Style
Dr. Irina Sterligova, Kremlin Museums Moskau
12.00-13.30 Uhr Mittagessen
13.30-14.00 Uhr
Die Reliquie im Zeitalter ihrer technischen Reproduzierbarkeit. Authentie und Medialisierung
Prof. Dr. Marc-Aeilko Aris, Ludwig-Maximilians-Universität München
14.00-14.30 Uhr
Vom Korbinians- zum Mariendom? Zur Programmatik der ersten barocken Renovatio
Dr. Meinrad von Engelberg, Universität Darmstadt
14.30-15.00 Uhr Kaffeepause
15.00-15.30 Uhr
Die barocke Silberrahmung für die Lukasikone. Ein Werk des Münchner Goldschmieds Gottfried Lang aus dem Jahr 1629
Dr. Annette Schommers, Bayerisches Nationalmuseum München
15.30-16.00 Uhr
Mittelalterliche Kunst in Barockkirchen. Zur Inszenierung historischer Legitimationsargumente in Süddeutschland
Dr. Tobias Kunz, Bode Museum Berlin
16.00-16.30 Uhr Abschlussdiskussion
Veranstalter:
Diözesanmuseum Freising
Direktor Dr. Christoph Kürzeder
Domberg 21
85354 Freising
08161-48790
info@dimu-freising.de
www.dimu-freising.de
Tagungsleitung
Dr. Antje Bosselmann-Ruickbie, Johannes Gutenberg-Universität Mainz
Dr. Carmen Roll, Diözesanmuseum Freising
Beteiligte Institutionen
Archäologische Staatssammlung München
Doerner Institut München
Domkirchenstiftung Freising
Johannes Gutenberg-Universität Mainz, Abteilung Christliche Archäologie und Byzantinische Kunstgeschichte
Institut für Bestandserhaltung und Restaurierung (IBR) der Bayerischen Staatsbibliothek München
TU München, Lehrstuhl für Restaurierung, Kunsttechnologie und Konservierungswissenschaft
Veranstaltungsort
Kardinal-Döpfner-Haus, Aula
Domberg 27, 85354 Freising
Die Teilnehmerzahl ist beschränkt. Anmeldung bis 7. April
Weitere Informationen beim Veranstalter
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Byzantine Studies, Byzantine Iconography, Byzantine Archaeology, and 16 moreMedieval Art, Conservation - restoration wooden painting (Byzantine icon), Byzantine Epigraphy, Byzantine Theology, Byzantine art, Medieval Goldsmith`s Art, Byzantine Icons, Byzantine painting of the Paleologue period, Byzantine manuscripts, inscriptions, and archaeology, Byzantine painting, Byzantine history and archaeology, Byzantine Inscriptions, Byzantine Ornaments, Historical Goldsmiths' Techniques, Byzantinische Goldschmiedekunst, and Byzantine goldsmiths' works
International Conference, 29. - 30. October, RGZM Mainz.
Research Interests: Late Antique and Byzantine Studies, Medieval Archaeology, Byzantine Studies, Byzantine History, Byzantine Archaeology, and 8 moreMedieval Art, Byzantine art, Medieval Goldsmith`s Art, Medieval jewellery, Late Antique and Byzantine Jewellery, Byzantine Jewellery, Jewellery, Goldsmith, Silversmith, Gold, Silver, Craft Guilds, Commonaute, Or, Argent, and Byzantine and Other Medieval Jewellery
Bosselmann-Ruickbie, Antje: Senkschmelz (émail enfoncé) in Byzanz und im lateinischen Westen im 10. Jahrhundert: Innovation, "internationaler" Wettbewerb und Techniksemantik, in: Der Andreas-Tragaltar - Restaurierungsgeschichte, offene... more
Bosselmann-Ruickbie, Antje: Senkschmelz (émail enfoncé) in Byzanz und im lateinischen Westen im 10. Jahrhundert: Innovation, "internationaler" Wettbewerb und Techniksemantik, in: Der Andreas-Tragaltar - Restaurierungsgeschichte, offene Forschungsfragen und Neupräsentation eines Hauptwerks der ottonischen Goldschmiedekunst. Beiträge der Tagung vom 17.-19. September 2021 im Museum am Dom in Trier, hg. von Museum am Dom, Trier, Regensburg 2023.
Research Interests: Late Antique and Byzantine Studies, Diplomatics (Medieval), Byzantine Studies, Medieval Art, Cultural Exchange, and 15 moreByzantium, Ottonian Art, Middle Ages, Byzantine art, Medieval Goldsmith`s Art, Enamel, Technical Art History, Cloisonné Enamels, Medieval Goldsmithery, Trier, Church Treasuries, Historical Goldsmiths' Techniques, Enamel Art, Medieval Church Treasuries, and Andreas Tragaltar
Chapter in The Oxford Handbook of Byzantine Art and Architecture, ed. by Ellen C. Schwartz, 2021 (print and online)
Research Interests: Art History, Byzantine Studies, Byzantine Archaeology, Decorative Arts, Byzantium, and 14 moreLate Antiquity and Byzantium (History and Art), Byzantine Art and Archaeolgy, History of Jewelry, Byzantine art, Medieval and Postmedieval Glass, Technical Art History, Medieval jewellery, Late Antique and Byzantine Jewellery, Byzantine glass, Cloisonné Enamels, Luxury Arts, Late Antique and Byzantine Jewelry, Byzantine Jewellery, and Byzantine enamels
Entry on Byzantine gold- and silverwork in: F. Daim (ed.) Byzanz. Historisch-kulturwissenschaftliches Handbuch. Der Neue Pauly Supplemente 11 (Stuttgart 2016) 799-807 chapter.
Research Interests:
Research Interests: Late Antique and Byzantine Studies, Byzantine Studies, Byzantine Iconography, Conservation - restoration wooden painting (Byzantine icon), Virgin Mary, and 12 moreIcons, Byzantine art, Byzantine Icons, Byzantine painting of the Paleologue period, Byzantine Minor Arts, Manuel II Palaeologus/ Palaiologos, Byzantine and Postbyzantine icon-painting, Byzantine Ornaments, Freising (Diocesis), Byzantine enamels, Byzantine goldsmiths' works, and Monuments from Freising
The study of alchemy in Byzantium has been advancing during the last few decades, as indicated by the gradual increase in the number of publications, research projects, and doctoral dissertations that examine (or include the examination... more
The study of alchemy in Byzantium has been advancing during the last few decades, as indicated by the gradual increase in the number of publications, research projects, and doctoral dissertations that examine (or include the examination of) alchemical topics in a Byzantine context. This workshop is the first scientific event that focuses exclusively on alchemy in Byzantium and delves systematically into various of its dimensions. It builds on the dynamics of the field, aiming to provide an interdisciplinary platform for discussion between scholars specializing in Byzantine alchemy and scholars from diverse fields whose knowledge and insights will substantially aid the understanding of the peculiarities of alchemy in Byzantium.
The workshop is an activity of the research project “Alchemy in Byzantium” of the Institute of Historical Research, National Hellenic Research Foundation (coordinator: Gerasimos Merianos). It is also the first of a series of scientific events on the history of alchemy, labeled “Alchemical Dialogues”, an initiative undertaken in collaboration with Matteo Martelli, University of Bologna.
Workshop organizer
Gerasimos Merianos, National Hellenic Research Foundation
Organizing assistant
Vangelis Koutalis, University of Ioannina
The workshop is an activity of the research project “Alchemy in Byzantium” of the Institute of Historical Research, National Hellenic Research Foundation (coordinator: Gerasimos Merianos). It is also the first of a series of scientific events on the history of alchemy, labeled “Alchemical Dialogues”, an initiative undertaken in collaboration with Matteo Martelli, University of Bologna.
Workshop organizer
Gerasimos Merianos, National Hellenic Research Foundation
Organizing assistant
Vangelis Koutalis, University of Ioannina
Research Interests:
Antje Bosselmann-Ruickbie, Justus-Liebig-Universität Gießen Tyler Franconi, Brown University Stefanie Acquavella-Rauch, Johannes Gutenberg-Universität Mainz Thomas Göttlich, Goetheschule Wetzlar Moderator: Shamma Boyarin, University of... more
Antje Bosselmann-Ruickbie, Justus-Liebig-Universität Gießen
Tyler Franconi, Brown University
Stefanie Acquavella-Rauch, Johannes Gutenberg-Universität Mainz
Thomas Göttlich, Goetheschule Wetzlar
Moderator: Shamma Boyarin, University of Victoria
Heavy Metal & Global Premodernity II
Online Conference, Miami University, 15-17 March 2024
Tyler Franconi, Brown University
Stefanie Acquavella-Rauch, Johannes Gutenberg-Universität Mainz
Thomas Göttlich, Goetheschule Wetzlar
Moderator: Shamma Boyarin, University of Victoria
Heavy Metal & Global Premodernity II
Online Conference, Miami University, 15-17 March 2024