The illuminations of the Christian Topography were depicted in the 6th century by the author of this cosmological treatise, known under the pseudonym Kosmas Indikopleustes. If his identity still remains uncertain along with other facts of... more
The illuminations of the Christian Topography were depicted in the 6th century by the author of this cosmological treatise, known under the pseudonym Kosmas Indikopleustes. If his identity still remains
uncertain along with other facts of his life, we know from his own words that his doctrine derives from the commentary on the Exodus by the bishop of Persia Mar Aba I (540–552). He used this knowledge
of a large repertory of cosmological and biblical illuminations actually conserved only in the three extant manuscripts of the Christian Topography: the more ancient one in the Vatican Library, others
in the Monastery of Saint Catherine at Sinai and in the Biblioteca Medicea Laurenziana in Florence. Though the presence of the twelve springs of Moses in these illuminations, conserved in the latter two manuscripts, has already been interpreted as a consequence of Jewish tradition, this contribution, written in collaboration between an art historian and an expert in Syriac sources, offers a new interpretation of the illumination of the third stage of the Israelites’ journey in the desert. It is based on a fragment of the teaching of Mar Aba, conserved in the Commentary of the Exodus of Isho‘dad of Merv, a Christian bishop lived in the 9th century, never compared before with the illuminations of the
Christian Topography. This source clarifies the genesis of the iconography, shading new light on these illuminations, which represent the witnesses of an oral source involving many exegetical traditions.
Refs 46.
uncertain along with other facts of his life, we know from his own words that his doctrine derives from the commentary on the Exodus by the bishop of Persia Mar Aba I (540–552). He used this knowledge
of a large repertory of cosmological and biblical illuminations actually conserved only in the three extant manuscripts of the Christian Topography: the more ancient one in the Vatican Library, others
in the Monastery of Saint Catherine at Sinai and in the Biblioteca Medicea Laurenziana in Florence. Though the presence of the twelve springs of Moses in these illuminations, conserved in the latter two manuscripts, has already been interpreted as a consequence of Jewish tradition, this contribution, written in collaboration between an art historian and an expert in Syriac sources, offers a new interpretation of the illumination of the third stage of the Israelites’ journey in the desert. It is based on a fragment of the teaching of Mar Aba, conserved in the Commentary of the Exodus of Isho‘dad of Merv, a Christian bishop lived in the 9th century, never compared before with the illuminations of the
Christian Topography. This source clarifies the genesis of the iconography, shading new light on these illuminations, which represent the witnesses of an oral source involving many exegetical traditions.
Refs 46.
Research Interests:
On the Mosaic of the Main Porch of San Marco in Venice: Towards a Multi-methodological Approach in Mosaics Studies, in Actual Problems of Theory and History of Art, VI, ed. by S.V. Maltseva, A.V. Zakharova, E.Iu. Staniukovich-Denisova, ISSN 2312-2129, St. Petersburg 2016, pp. 143-149, tav. p. 870.more
After large contributions made by Otto Demus and Renato Polacco, the inner porch of San Marco was rigorously studied, but only single elements of its complex structure were taken into consideration. Scholars have agreed neither on the... more
After large contributions made by Otto Demus and Renato Polacco, the inner porch of San Marco was rigorously studied, but only single elements of its complex structure were taken into consideration. Scholars have agreed neither on the chronological sequence of the rows which compose the portal, nor on the original portal decoration. The formal analysis of the mosaic decoration has been implemented to clarify the chronological sequence of the Byzantine ateliers from the second half of the 11th century to the early 12th century. Other researches made a new statement regarding the doors that arrived in Venice between the last quarter of the 11th century and the beginning of the 12th century, one of them actually in use in the main portal.
Many questions still remain. Was the portal structure originally made of three tiers or four (counting also the hypothetical vault demolished in the 16th century in order to open the light well called “pozzo”)? Are the di erences in quality of painting of the same tier due to restorations or to a di erent approach used in the images of different saints? Was there more than one artist involved in the process? There are also a lot of questions about the original door of the porch. The actual door of the main porch opening was offered by Leo da Molino († 1138), Procuratore di rispetto of the church of San Marco in the year 1112. It should be dated 10 to 30 years later than the portal, if we accept that the first phase of the porch was completed in the last quarter of the 11th century.
The author reconsiders the recent studies of the main porch of San Marco drawing on an integrated approach. An attempt has been made to clarify the chronological phases of the architectural structure by using techniques like Geophysical prospections, analyzing glass materials, mapping different restorations and confronting the data of the multispectral analysis with the documents conserved in the archives of the Procuratoria di San Marco. e goal of the research is to study the mosaic within its structural, material, devotional, and ideological context trying to give the answers to all newly opened questions.
Many questions still remain. Was the portal structure originally made of three tiers or four (counting also the hypothetical vault demolished in the 16th century in order to open the light well called “pozzo”)? Are the di erences in quality of painting of the same tier due to restorations or to a di erent approach used in the images of different saints? Was there more than one artist involved in the process? There are also a lot of questions about the original door of the porch. The actual door of the main porch opening was offered by Leo da Molino († 1138), Procuratore di rispetto of the church of San Marco in the year 1112. It should be dated 10 to 30 years later than the portal, if we accept that the first phase of the porch was completed in the last quarter of the 11th century.
The author reconsiders the recent studies of the main porch of San Marco drawing on an integrated approach. An attempt has been made to clarify the chronological phases of the architectural structure by using techniques like Geophysical prospections, analyzing glass materials, mapping different restorations and confronting the data of the multispectral analysis with the documents conserved in the archives of the Procuratoria di San Marco. e goal of the research is to study the mosaic within its structural, material, devotional, and ideological context trying to give the answers to all newly opened questions.
Research Interests:
The Image of saint Simeon Stylites the Elder in the Menologion of Basil II The manuscript gr. 1613 of the Vatican Library is a Menologion. It’s a book which contains short texts about the lives of the Saints drawn up in liturgical order... more
The Image of saint Simeon Stylites the Elder in the Menologion
of Basil II
The manuscript gr. 1613 of the Vatican Library is a Menologion. It’s a book which contains short texts about the lives of the Saints drawn up in liturgical order and which is dedicated to the emperor Basil II. The second illumination of the codex shows an image of Saint Symeon Stylites the Elder. Close to the column of the hermit there are some figures already interpreted as the Arabs paying their respect to the Saint, because of the turbans wrapped in their heads. The critical analysis of the illumination allows us to recognize a specific hagiographic source chosen to represent the Saracens converted to the Christian faith. This hypothesis is supported by devotional aspects, historic context, by military expeditions along the East borders of the Empire and by cultural
and social relations with the Arabs during the rule of this emperor. In particular, it is useful to take into consideration the peace imposed on al-Hakim, the Fatimid calif of Egypt, in 1001 and 1011. This episodes should be considered in the chronological assessment of this manuscript.
of Basil II
The manuscript gr. 1613 of the Vatican Library is a Menologion. It’s a book which contains short texts about the lives of the Saints drawn up in liturgical order and which is dedicated to the emperor Basil II. The second illumination of the codex shows an image of Saint Symeon Stylites the Elder. Close to the column of the hermit there are some figures already interpreted as the Arabs paying their respect to the Saint, because of the turbans wrapped in their heads. The critical analysis of the illumination allows us to recognize a specific hagiographic source chosen to represent the Saracens converted to the Christian faith. This hypothesis is supported by devotional aspects, historic context, by military expeditions along the East borders of the Empire and by cultural
and social relations with the Arabs during the rule of this emperor. In particular, it is useful to take into consideration the peace imposed on al-Hakim, the Fatimid calif of Egypt, in 1001 and 1011. This episodes should be considered in the chronological assessment of this manuscript.
Research Interests:
This paper focuses on the dome of the Early Christian chapel of saint Prosdocimus, in the church of Saint Justine, Padua. The radial iconography of the Ascension of Christ depicted during the middle of the 16th century is considered a... more
This paper focuses on the dome of the Early Christian chapel of saint Prosdocimus, in the church of Saint Justine, Padua. The radial iconography of the Ascension of Christ depicted during the middle of the 16th century is considered a copy of the lost mosaic, realized in the early 6th century, using as a model the dome of the neonian baptistery, in Ravenna, or other eastern similar layouts (Saint George and Saint Sophia in Thessaloniki). Today it is possible to reconsider this artistic transfer. In fact the modern frescoes are connected with the artistic renovatio of the martyrial space wanted by the abbot of the Benedictine Abbey of Saint Justine, during the years of the Council of Trent (1545-63). There is another reason which should be considered about the presence of the mosaic with the Apostles in the Early Christian dome. A literary source of 1619 testifies that the Apostles were “insculpti”, which means “done in relief”. The archaeometrical analysis realized on a piece of white and fine mortar has demonstrated the presence of stucco in the chapel.
Research Interests: Byzantine Studies, Byzantine Iconography, Historiography (in Art History), Early Christian Art, Science for Conservation and Restoration of Cultural Heritage, and 4 moreByzantine Art and Archaeolgy, Byzantine art, Medieval style in the Renovation of an old Abbey, and Early Christian Art and Iconography
This paper focuses on the mosaic of the Crucifixion in the Church of Nea Monì, Chios, providing an iconographic reading of the Centurion. As has been repeatedly pointed out, with his dark haired and his turban, the Centurion has the... more
This paper focuses on the mosaic of the Crucifixion in the Church of Nea Monì, Chios, providing an iconographic reading of the Centurion. As has been repeatedly pointed out, with his dark haired and his turban, the Centurion has the distinctive
looks of an Arab. Although the turban is often confused with the scarf soldiers used to wear under their helmet, or else with the jewish tallit, the centurion's turban seems to be actually inspired by Arabic fashion, as the comparison with the Madrid Skylitzes shows well enough. Connections with eastern costume are further reinforced by the preudo-cufic ornaments embellishing the Centurion's socks, as well as and by his round shield, which shows the same decoration as the σκουτάρια ραπτά commonly
used by the Byzantine army during the Macedonian and Comnenian empire. Thus, the Centurion can be construed as an alter ego of the non-Christians who embraced the orthodox religion after acknowledging the divine identity of Christ. He conveys the same message as the Arab aristocrat depicted under the column of Saint Symeon the Elder in the Menologion of Basil II in the Vatican Library. Macedonian art, I argue, aimed to translate into images the imperial policy aimed at the Arabs settled in
Constantinople and on the eastern borders, who had been “byzantinized” by the power of law. Not only were they baptized and given christian names; what is more, the also became part of byzantine iconography, as shown by our Crucifixion scene.
looks of an Arab. Although the turban is often confused with the scarf soldiers used to wear under their helmet, or else with the jewish tallit, the centurion's turban seems to be actually inspired by Arabic fashion, as the comparison with the Madrid Skylitzes shows well enough. Connections with eastern costume are further reinforced by the preudo-cufic ornaments embellishing the Centurion's socks, as well as and by his round shield, which shows the same decoration as the σκουτάρια ραπτά commonly
used by the Byzantine army during the Macedonian and Comnenian empire. Thus, the Centurion can be construed as an alter ego of the non-Christians who embraced the orthodox religion after acknowledging the divine identity of Christ. He conveys the same message as the Arab aristocrat depicted under the column of Saint Symeon the Elder in the Menologion of Basil II in the Vatican Library. Macedonian art, I argue, aimed to translate into images the imperial policy aimed at the Arabs settled in
Constantinople and on the eastern borders, who had been “byzantinized” by the power of law. Not only were they baptized and given christian names; what is more, the also became part of byzantine iconography, as shown by our Crucifixion scene.
Research Interests:
The aim of the paper is to analyze pseudo-kufic ornament in Byzantine art and the reception of the topic in Byzantine Studies. The pseudo-kufic ornamental motifs seem to occupy a middle position between the purely formal abstractness and... more
The aim of the paper is to analyze pseudo-kufic ornament in Byzantine art and the reception of the topic in Byzantine Studies. The pseudo-kufic ornamental motifs seem to occupy a middle position between the purely formal abstractness and freedom of arabesque and the purely symbolic form of a semantic and referential mean, borrowed from an alien language, moreover. This double nature (that is also a double negation) makes of pseudo-kufic decoration a very interesting liminal object, an object of “transition”, as it were, at the crossroad of different domains. Starting from an assessment of the theoretical questions raised by the aesthetic peculiarities of this kind of ornament, we consider, from this specific point of view, the problem of the cross-cultural impact of Islamic and islamicizing formal repertory on Byzantine ornament, focusing in particular on a hitherto unpublished illuminated manuscript dated to the tenth century and held by the Marciana Library in Venice.
Research Interests:
Research Interests:
The association of the figure of the eagle with the cross is very frequent in the funerary steles of Egyptian origins. There are several iconographical solutions, sometimes definitely Christian, like the eagle with the alpha and omega... more
The association of the figure of the eagle with the cross is very frequent in the funerary steles of Egyptian origins. There are several iconographical solutions, sometimes definitely Christian, like the eagle with the alpha and omega already seen in the frescoes of Bawit, sometime strongly syncretic, as in the case of the eagle flying on a big ankh, but all datable to around the 6th-7th centuries. The Coptic Museum of Cairo conserves a stele of 5th-6th century with the bird spreading its wings on a cross surrounded by animals on a surface full of plants. The same characteristics are displayed on the mosaic of Gaudiosus (catacombs of Naples), even if with a different style. In fact the eagle, with the traditional amulet around its neck, opens its wings on a cross, between vine stocks and two sheep on a white, elegant, ground. I think that it could be interesting to consider the bird realized in the catacombs as a portrait of a dead, maybe Gaudiosus. Because of his African origins, he probably knew the Christian exegesis about such iconography. Probably the dead intended to be represented with the portrait of his eternal appearance, the same as the angels and the Apostles, as a consequence of a life spent realizing a perfect imitatio Christi.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Because of the presence of a medallion or a mandorla, modern scholars often connect the iconography of the Virgin and Child surrounded by an aureole to the imperial cult. In fact, the Emperor held in triumph on a shield was probably at... more
Because of the presence of a medallion or a mandorla, modern scholars often connect the iconography of the Virgin and Child surrounded by an aureole to the imperial cult. In fact, the Emperor held in triumph on a shield was probably at the origin of the iconography, popularized through consular diptychs, that took over and developed the imperial prototype. Nevertheless, the connection between the shield and the mandorla can only partially explain the fortune of the Christian iconography of the Virgin with Child in an ellipsoidal medallion. As Cyril Mango noted, this iconography cannot be considered just an interpretation of the triumphal models and the Virgin is not a simple translation of the pagan Victory. The presence of the aureole around the Child defines His nonhuman status and it is a way to distinguish the body of
Mary from the Logos that took bodily form in Her womb. The meaning of this composition can be further illuminated by a careful reconsideration of an important preiconoclastic representation. A Syriac Bible at the Bibliothèque nationale in Paris (syr. 341) shows the Virgin with the Child in a mandorla as a part of a rich decorative programme, which dogmatic meaning is closely connected to the contemporary hymnography. The fragmentary Bible, datable through a stylistic comparison to the end of 6th or the beginning of the 7th century, contains four big miniatures and a sequence of small compositions with the portraits of standing Prophets and the Apostle James. It cannot be excluded that the depiction of the Virgin and Child in the Syriac Bible (f. 118r) is the most ancient example of the iconography of the pregnant Virgin. In fact, this image reflects the tradition of hymnography and the popular cult testified by a group of wedding presents of Hellenistic origin, that could provide a precedent and possibly constitute the ancestry of the iconography, then adapted
to the monastic context. These representations attest that the tradition flourished outside the official art sponsored by the Church, as testified by some late Egyptian frescoes.
Mary from the Logos that took bodily form in Her womb. The meaning of this composition can be further illuminated by a careful reconsideration of an important preiconoclastic representation. A Syriac Bible at the Bibliothèque nationale in Paris (syr. 341) shows the Virgin with the Child in a mandorla as a part of a rich decorative programme, which dogmatic meaning is closely connected to the contemporary hymnography. The fragmentary Bible, datable through a stylistic comparison to the end of 6th or the beginning of the 7th century, contains four big miniatures and a sequence of small compositions with the portraits of standing Prophets and the Apostle James. It cannot be excluded that the depiction of the Virgin and Child in the Syriac Bible (f. 118r) is the most ancient example of the iconography of the pregnant Virgin. In fact, this image reflects the tradition of hymnography and the popular cult testified by a group of wedding presents of Hellenistic origin, that could provide a precedent and possibly constitute the ancestry of the iconography, then adapted
to the monastic context. These representations attest that the tradition flourished outside the official art sponsored by the Church, as testified by some late Egyptian frescoes.
Research Interests:
Research Interests:
Research Interests:
- Prefazione di Herbert L. Kessler - Introduzione - Silvia Pedone, "Vedere Bisanzio da nessun luogo. I limiti di una visione “estetica” condizionata"; - Aglae Pizzone, "Concepire nel corpo e nella mente: l'emozione estetica e i... more
- Prefazione di Herbert L. Kessler
- Introduzione
- Silvia Pedone, "Vedere Bisanzio da nessun luogo. I limiti di una visione “estetica” condizionata";
- Aglae Pizzone, "Concepire nel corpo e nella mente: l'emozione
estetica e i suoi miti dall’età imperiale a Bisanzio";
- Valentina Cantone, "Quando l’apparenza non inganna. Contemplare, leggere e interpretare l’immagine teandrica
di Hosios David";
- Racconto edificante relativo all’immagine divino-umana del nostro signore Gesù Cristo (Traduzione di Aglae Pizzone)
- Ivan Foletti, "Tra classicismi e avanguardie: la ricezione
dell’estetica bizantina in Francia e in Russia tra Otto e Novecento"
- Indice dei nomi
- Note sugli autori
- Introduzione
- Silvia Pedone, "Vedere Bisanzio da nessun luogo. I limiti di una visione “estetica” condizionata";
- Aglae Pizzone, "Concepire nel corpo e nella mente: l'emozione
estetica e i suoi miti dall’età imperiale a Bisanzio";
- Valentina Cantone, "Quando l’apparenza non inganna. Contemplare, leggere e interpretare l’immagine teandrica
di Hosios David";
- Racconto edificante relativo all’immagine divino-umana del nostro signore Gesù Cristo (Traduzione di Aglae Pizzone)
- Ivan Foletti, "Tra classicismi e avanguardie: la ricezione
dell’estetica bizantina in Francia e in Russia tra Otto e Novecento"
- Indice dei nomi
- Note sugli autori
Research Interests:
Secondo Massimo il Confessore le realtà celesti e quelle materiali sono fatte per rivelarsi a vicenda. L’immagine di Dio dipinta nel catino absidale può condurre, infatti, per visibilia ad invisibilia, celebrando il punto d’incontro tra... more
Secondo Massimo il Confessore le realtà celesti e quelle materiali sono fatte per rivelarsi a vicenda. L’immagine di Dio dipinta nel catino absidale può condurre, infatti, per visibilia ad invisibilia, celebrando il punto d’incontro tra liturgia celeste e liturgia terrena, ma non solo. L’iconografia teofanica, infatti, costituisce il punto d’incontro di una complessa tradizione mistica incentrata sulla visione dei misteri celesti e sul ruolo apostolico dei monaci, che sulla falsariga dei profeti del Vecchio Testamento giungevano al cospetto del trono divino, costituendo un punto di riferimento imprescindibile per l’intero ordo monasticus. Questo studio vuole investigare proprio il ruolo della tradizione mistica nell’elaborazione e nella diffusione dell’iconografia teofanica, secondo una prospettiva inedita che attraverso la letteratura pseudepigrafa, l’esegesi patristica e l’omiletica ricostruisca la sinopia mistica al di sotto di un’iconografia che insiste sul complesso profilo sincretico della tradizione monastica bizantina.
Research Interests:
The conference presentation discusses the results of archaeometric investigations done on window glass preserved in the Galleria Regionale di Palazzo Abatellis in Palermo. Lighting systems in Norman churches are discussed considering the... more
The conference presentation discusses the results of archaeometric investigations done on window glass preserved in the Galleria Regionale di Palazzo Abatellis in Palermo. Lighting systems in Norman churches are discussed considering the new knowledge.
Research Interests:
The communication is an overview of the research I am coordinating at the University of Padua, Department of Cultural Heritage. The working team is a multi-disciplinary group of scientists from the Department of Cultural Heritage and... more
The communication is an overview of the research I am coordinating at the University of Padua, Department of Cultural Heritage.
The working team is a multi-disciplinary group of scientists from the Department of Cultural Heritage and from the Department of Geosciences of the University of Padua.
The focus is to study Early Christian and Medieval mosaics with a multi-methodological approach, by correlating the data coming from the historical investigation of artistic documents with the results of material analysis (glass tesserae and mortar), and with the data obtained by multi-spectral analysis and nondestructive radar. The purpose of this research is to study the mosaics in their context, considering not only the external decoration and the historical context, but also the constitution materials of the architectural structure, experimenting with new technological applications in the mosaics study.
The working team is a multi-disciplinary group of scientists from the Department of Cultural Heritage and from the Department of Geosciences of the University of Padua.
The focus is to study Early Christian and Medieval mosaics with a multi-methodological approach, by correlating the data coming from the historical investigation of artistic documents with the results of material analysis (glass tesserae and mortar), and with the data obtained by multi-spectral analysis and nondestructive radar. The purpose of this research is to study the mosaics in their context, considering not only the external decoration and the historical context, but also the constitution materials of the architectural structure, experimenting with new technological applications in the mosaics study.
Research Interests:
Research Interests: Byzantine Studies, Historiography (in Art History), Early Christian Art, Early Christian Architecture, Science for Conservation and Restoration of Cultural Heritage, and 5 moreEarly Christian Studies, Byzantine Art and Archaeolgy, Byzantine art, Late Antique and Byzantine Archaeology, Architecture and History of Art, and Early Christian Art and Architecture
Research Interests:
Padova, Abbazia di Santa Giustina, Sala riviste della Biblioteca, 20 novembre 2015, ore 9, organizzazione del seminario: La circolazione del mosaico nell’alto medioevo: dalla materia prima alla messa in opera di un progetto artistico.... more
Padova, Abbazia di Santa Giustina, Sala riviste della Biblioteca, 20 novembre 2015, ore 9, organizzazione del seminario: La circolazione del mosaico nell’alto medioevo: dalla materia prima alla messa in opera di un progetto artistico. Relatori: Valentina Cantone, Gianmario Molin, Alberta Silvestri, Tania Chinni, Ivan Foletti, Zuzana Frantovà, Alzbeta Filipovà; il workshop è inserito nelle attività didattiche promosse dai tutor della Scuola Galileiana Studi Superiori, in collaborazione con l’Università Mazaryk di Brno e con il Center for Early Medieval Studies. West, Byzantium, Islam.
Research Interests:
In the framework of these two sessions, scholars from various disciplines, such as philology, history, art history, and archeology, will examine the social and cultural dimensions of emotions in Byzantium, both from a religious and a... more
In the framework of these two sessions, scholars from various disciplines, such as philology, history, art history, and archeology, will examine the social and cultural dimensions of emotions in Byzantium, both from a religious and a profane perspective. In so doing, they will contribute to and enlarge the current state of research on Byzantine emotions which is mainly limited to the sad feelings that are associated with grief. On the one hand, the sessions' speakers will offer fresh approaches to the emotion of sadness, and on the other, they will explore for the first time emotions, such as love, pity, anger, and terror.
Research Interests:
Research Interests: Byzantine Studies, Byzantine Architecture, Byzantine Iconography, Early Christian Art, Early Christian Archaeology, and 4 moreByzantine Mosaics, Persistences and revivals of medieval/early modern modalities in modern & contemporary art, Early Christian Mosaics, and Early Christian Archaeology and Byzantine Art
Il caso che vogliamo proporre in questa sede è quello del sacello di san Prosdocimo a Padova. Tradizionalmente considerato come un monumento dipendente dall’arte ravennate, si è rivelato all’analisi dei materiali come un cantiere che... more
Il caso che vogliamo proporre in questa sede è quello del sacello di san Prosdocimo a Padova. Tradizionalmente considerato come un monumento dipendente dall’arte ravennate, si è rivelato all’analisi dei materiali come un cantiere che recepisce per via fluviale “le novità” giunte dal mare, analogamente a quanto accade a Ravenna. Tuttavia, l’analisi storico artistica degli affreschi della cupola suggerisce una revisione della tradizione critica e un ridimensionamento del legame con l’ex capitale imperiale, suggerendo di considerarlo non come un vincolo assodato, ma come un’ipotesi che richiede nuove indagini dei materiali e un lavoro d’equipe.
Alla fine del nostro intervento, strutturato a dittico, proporremo alcune riflessioni sul metodo che si intende estendere ad altri cicli musivi medievali in area altoadriatica.
Alla fine del nostro intervento, strutturato a dittico, proporremo alcune riflessioni sul metodo che si intende estendere ad altri cicli musivi medievali in area altoadriatica.
Research Interests:
Il mosaico bizantino si presta efficacemente a intrattenere una conversazione sul tema della luce, perché, in un certo senso, la tessera musiva è fatta di luce. Le tessere a foglia d’oro raccolgono al proprio interno una lamina del... more
Il mosaico bizantino si presta efficacemente a intrattenere una conversazione sul tema della luce, perché, in un certo senso, la tessera musiva è fatta di luce.
Le tessere a foglia d’oro raccolgono al proprio interno una lamina del metallo più luminoso, quindi si può dire che racchiudano la luce nel vetro. Le superfici campite di mosaico aureo sono come degli specchi che riflettono la luce. Inoltre, quando i mosaici sono stesi su superfici concave, raccolgono e potenziano la luce presente nell’ambiente, per effetto delle leggi fondamentali della catottrica, scienza che studia i fenomeni di riflessione. (SLIDE 1)
L’uso consapevole degli effetti luministici all’interno degli edifici di culto costituisce la parte centrale dell’intervento che vi propongo. La prima parte tratterà dell’uso del mosaico aniconico e la seconda del mosaico istoriato. All’interno di queste due parti si prenderanno in considerazione altri aspetti di pertinenza storico artistica, ovvero le soluzioni formali adottate dai maestri musivari per valorizzare la luce e il colore, le tecniche di correzione ottica degli eccessi di luce e la percezione del mosaico nel medioevo rispetto al modo con cui oggi lo leggiamo, studiamo e conserviamo.
Non mi addentrerò negli aspetti di ordine filosofico e dottrinale. Da quando Costantino il Grande monumentalizzò la sua capitale sul Bosforo, inaugurata nel 330, fino alla caduta di Costantinopoli sotto l’assedio dei Turchi, nel 1453, la luce fa parte integrante della propaganda imperiale e della teologia bizantina, pertanto ogni sintesi mi sembra un arbitrio, che non rende ragione del numero degli autori che ne trattano, dei generi letterari e dei diversi contesti.
Mi limito a ricordare che, come indicato anche nel titolo di questo intervento, già nel primo concilio ecumenico della Chiesa tenuto a Nicea nel 325, si definì l’incarnazione di Dio con la formula “luce da luce”: φῶς ἐκ φωτός, espressione che esprime la consustanzialità del Padre e del Figlio attraverso un’immagine di sapore neoplatonico.
Le tessere a foglia d’oro raccolgono al proprio interno una lamina del metallo più luminoso, quindi si può dire che racchiudano la luce nel vetro. Le superfici campite di mosaico aureo sono come degli specchi che riflettono la luce. Inoltre, quando i mosaici sono stesi su superfici concave, raccolgono e potenziano la luce presente nell’ambiente, per effetto delle leggi fondamentali della catottrica, scienza che studia i fenomeni di riflessione. (SLIDE 1)
L’uso consapevole degli effetti luministici all’interno degli edifici di culto costituisce la parte centrale dell’intervento che vi propongo. La prima parte tratterà dell’uso del mosaico aniconico e la seconda del mosaico istoriato. All’interno di queste due parti si prenderanno in considerazione altri aspetti di pertinenza storico artistica, ovvero le soluzioni formali adottate dai maestri musivari per valorizzare la luce e il colore, le tecniche di correzione ottica degli eccessi di luce e la percezione del mosaico nel medioevo rispetto al modo con cui oggi lo leggiamo, studiamo e conserviamo.
Non mi addentrerò negli aspetti di ordine filosofico e dottrinale. Da quando Costantino il Grande monumentalizzò la sua capitale sul Bosforo, inaugurata nel 330, fino alla caduta di Costantinopoli sotto l’assedio dei Turchi, nel 1453, la luce fa parte integrante della propaganda imperiale e della teologia bizantina, pertanto ogni sintesi mi sembra un arbitrio, che non rende ragione del numero degli autori che ne trattano, dei generi letterari e dei diversi contesti.
Mi limito a ricordare che, come indicato anche nel titolo di questo intervento, già nel primo concilio ecumenico della Chiesa tenuto a Nicea nel 325, si definì l’incarnazione di Dio con la formula “luce da luce”: φῶς ἐκ φωτός, espressione che esprime la consustanzialità del Padre e del Figlio attraverso un’immagine di sapore neoplatonico.
Research Interests:
Research Interests:
These chapters focus on a review of the previous literature about the Early Christian basilica of Santa Giustina in Padova and its martyrium. Moreover, new hypothesis are discussed. In particular, the chronology of the round structure... more
These chapters focus on a review of the previous literature about the Early Christian basilica of Santa Giustina in Padova and its martyrium. Moreover, new hypothesis are discussed. In particular, the chronology of the round structure (the so called mauseoleum), near the martyrium, the dimension of the Early Christian basilica (with a portico?), the original iconography of the mosaics produced in the 6th c. and the symbolical meaning of some part of the pavement are reconsidered.
Research Interests: Historiography, Byzantine Studies, Early Christian Art, Early Christian Architecture, Early Christian Archaeology, and 8 moreByzantine Art and Archaeolgy, Byzantine art, Early Christian Iconography, Conservation and Restoration of Historic Buildings and Monuments, Early Christian Mosaics, Early Christian Art and Iconography, Early Christian and Byzantine Iconography, and Early Byzantine Mosaics
The paper presents for the first time the results of a multi-methodological research (supported by the University of Padua, Department of Cultural Heritage) on the inner porch in the basilica of St. Mark, Venice. 1) Thanks to epigraphic... more
The paper presents for the first time the results of a multi-methodological research (supported by the University of Padua, Department of Cultural Heritage) on the inner porch in the basilica of St. Mark, Venice. 1) Thanks to epigraphic and iconographical analysis of the figure of St. Mark in apse, Valentina Cantone demonstrates that the figure of the St. Patron of Venice is a copy of the 11th century mosaic, completely restored during the 16th century, respecting the original program and iconography. 2) Rita Deiana applies the holographic radar technology and the multispectral imaging to the rows of the porch, discussing the evidence of discontinuity of mortar and bricks under the mosaic surface. 3) Giovanna Valenzano confirms the chronology of the porch, built during the 11th century, through the analysis of sculptures, considering also the layout of bricks in the extrados of the apse, which corresponds to the early phases of the building remaining visible in the main porch of the basilica and under the marble revetments of the church.
Research Interests:
Cantone focuses on a series of virgin martyrs that appear in the well-knows eleventh-century illustrated manuscript, the Menologion of Basil II, and approaches them from the perspective of gendered emotions. She argues that their female... more
Cantone focuses on a series of virgin martyrs that appear in the well-knows eleventh-century illustrated manuscript, the Menologion of Basil II, and approaches them from the perspective of gendered emotions. She argues that their female gender identity is destabilized by a series of visual and rhetoric devices that they share with male martyrs. Among these devices the most important is dispassion (ataraxia) or the imperviousness to suffering that all martyrs apparently expressed in the face of imminent death. Just like their male counterparts, female martyrs kept a placid and serene emotional façade. Cantone contends that this specific dramatic staging in the manuscript was especially designed to engage its readership emotionally by re-enacting the virgin martyrs’ dramatic moments.
Research Interests: Gender Studies, Byzantine Studies, Byzantine Manuscripts Illumination, Women and Gender Studies, Byzantine art, and 2 moreByzantine, Western Medieval, and Islamic Art & Architecture, Medieval Art and Architecture of the South Caucasus, Late Antique and Medieval Visual Culture and Middle-Byzantine Period
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Subscription and tabula gratulatoria to Convivium II/1
Research Interests:
Research Interests:
That is the final program for the 2017 conference, commented with the participants. It contains only the schedule for the Old Art Module.