Byzantine and Medieval Art Research Papers

This is a book review on ''Miniature Armene /Armenian Miniature Paintings. Introduction by Rev. P. M. Djanashian, Texte is revised, adapted, updated by P. N. Der-Nersessian, San Lazzaro, Venezia, 1990.

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- by Levon Chookaszian
- •
- 36
  Art History, Art, Armenian Studies, Painting

One of the great premises of medieval popular religion was the localization of the holy, the essential principle of the pilgrimage. At the same time, there was a widespread equation between excessive art and holiness. One result of... more

One of the great premises of medieval popular religion was the localization of the holy, the essential principle of the pilgrimage. At the same time, there was a widespread equation between excessive art and holiness. One result of these complementary dynamics was that many pilgrims felt that the localization of the holy was indicated by an elevated artistic environment, an attitude that was used at times by religious institutions at some holy sites to meet the expectations of some great experience on the part of the tens and even hundreds of thousands of visitors who are recorded as having annually visited these places. At the high point of the pilgrimage (11th-12th centuries), almost all of these pilgrims had no or only very little formal education. And so the question arises, given the important role of art in the lived experience, how was this often complex form of visual media negotiated in this unique intersection of high culture and the non-elite in actual practice? In other words, what provided the crucial interface for a largely uneducated public and the often phenomenally expensive art programs that had been created almost entirely for their benefit, practically speaking? Or, put another way still, was there such a thing as a "tour guide" in the Middle Ages?
This study investigates the medieval "tour guide" or, perhaps better, it investigates guide culture. Toward this end, I ask such questions as was there a "tour guide" in the Middle Ages, that is, is there evidence for an artistic component within medieval guide culture? If so, what was the precedent for this? What was its relation to artistic culture in general and pilgrimage culture in particular? Is there any evidence of guide support, such as guide training or guide aids? What can we say about the range of artistic culture addressed by medieval guides and, in this regard, what sort of information did they convey? Who were these guides and what social groups did they address? Did they act to maintain--consciously or unconsciously--the traditional social distance between the spiritual elite and the non-elite? And how does all this affect our conception of medieval artistic culture, broadly speaking?
Medieval guide culture and its mediating dynamic, ephemeral by nature, have been largely overlooked. But at least something--even if little more than an awareness--of this culture may be recovered. The evidence suggests that it was an active factor in the transmission of particular categories of knowledge and claims, and strongly affected both the object-viewer dynamic and the social context of medieval public art. And in this, the guide, variously understood, was often the principal mediator between the ordinary visitor and the sometimes incredibly lavish and complex art programs--between the public and the public work of art--of the Middle Ages.

A general overview of the surviving monuments demonstrates that from the very beginning the image of the Mother of God surrounded by angels, flanking her figure and performing the role of her heavenly suite, was very popular and widely... more

M.A. Thesis on the socio-cultural climate of early 6th century Byzantium that produced the manuscript known as the Anicia Juliana Codex.

The history and legend of two 12 Century icons brought to Malta from Rhodes in 1530. Both icons can be found in the Greek-rite church of Valletta, know as the Damascene Madonna and the Eleimonitria.

Depuis l'antiquité, dans l'histoire de la civilisation, le motif de la colonne est employé fréquemment comme symbole politique ou religieux. On connaît les exemples de l'obélisque égyptien ou de la colonne votive de l'antiquité... more

"This paper proposes three new (and tentatively, another two) identifications of sundials in Middle Eastern mosaics of the 5th – 8th century. The author discusses a vignette from the Holy Martyrs’ Church at Tayibat al-Imâm, central Syria,... more

SUMMARY: Determined by its biblical origins, the birth of specifically Christian visual culture had to be given through overcoming the inevitable resistance of early church towards images. In order to find its stable place on late antique... more

SUMMARY: Determined by its biblical origins, the birth of specifically Christian visual culture had to be given through overcoming the inevitable resistance of early church towards images. In order to find its stable place on late antique cultural scene, early byzantine art, thus, had to rely on support of religious and cultural patterns remote of magisterial artistic trends. Among those, contemporary theory recognizes as especially important: 1) cult of relics and 2) sealing practices. Crossing the possibility of theoretical definition of unique semiotic model standing behind those two cultural-religious practices with the fact that after iconoclasm byzantine art will be systematically distanced from both of them, this research attempts to explore the relation between iconophile theory and byzantine artistic production from a yet unexplored interpretative position. Hypothesis that category of indexical sign, as it is proposed by contemporary semiotics (based on Peircean legacy), can be used for extraction of this unique semiotic model is used here as a specific methodological tool for re-approach to both – 1) the pre-iconoclastic need for accentuating the indexical aspects of iconic images and 2) the mystery of post-iconoclastic radical distancing towards such a semiotic need. On the basis of such an integrated approach it is possible not only to search for more precise explanation of co-relations between artistic practices and contemporaneous (iconophile) theory, but to explain curious historical delay in application of this theoretic knowledge in artistic and liturgical realms, together with a late outburst of iconoclastic behavior provoked by this very delay. Namely, one of the most prominent incarnations of pre-iconoclastic need for “indexicalisation” of iconic medium, the mysterious Mandylion from Edessa, had very curious role in historical development of post-iconoclastic plastic arts in Byzantium. This specific object was miraculously and undividedly uniting both key indexical aspects of pre-iconoclastic cognitive settings in one icon – causally connected with the archetype himself. However, exactly this kind of synthetic, relic-seal-image status turned out to be the specific semiotic stumbling stone in the process of application of iconophile theory in liturgical arts. This is why in XI century byzantine church decided to refrain Mandylion from public life for good and lock it in court chapel, under the protection of the emperor himself. As one of the most curious theological decisions of medieval Christianity, this extraordinary semiotic conversion was, actually, the final step in application of the most advanced achievements of the late iconophile theory, which was, at the same time, the first step in development of artistic system relaxed from the pressure of need for legalistic, causal validation of pictorial language.

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- by Todor Mitrovic
- •
- 61
  Semiotics, Christianity, Cultural History, Cultural Studies

During the last two centuries before the Renaissance of the arts in Italy in the 15th century, different waves of classical trends marked the artistic creation of both Byzantine and western worlds. Between 1220 and 1260 in particular, a... more

Textiles & Identity in the Medieval and Εarly Modern Mediterranean: paradigms of contexts and cross-cultural exchanges Textiles offer a rich opportunity to explore the projection of identity, both within and between social and cultural... more

Textiles & Identity in the Medieval and Εarly Modern Mediterranean: paradigms of contexts and cross-cultural exchanges

Textiles offer a rich opportunity to explore the projection of identity, both within and between social and cultural groups. A pertinent arena for such an exploration is the intercultural region of the Mediterranean. This workshop will bring together a group of junior and senior scholars to investigate and elucidate the role of textiles in the cultures of the Medieval and early Modern Mediterranean, and its periphery, with a focus on specific case studies. Our investigation will analyze textiles as tools for projecting identity within specific contexts, whether cross-cultural or not. Institutionalized practices of textile use and reuse, written and unwritten rules governing ceremonial use, the departure from standard practices, the active reception of imports and their interpretation will form the major topics examined by the participating scholars. Our directed investigation will seek to identity parallels and points of contact between the use of textiles in various political entities, and among social groups and cultures.

Program
3 June 2016
Venue: Museum of Islamic Art, 22 Ag. Asomaton & 12 Dipylou St., Athens

Welcoming remarks
9:30 John Bennet, British School at Athens
9:40 Mina Moraitou, Benaki Museum

Opening remarks
9:50 Nikolaos Vryzidis, British School at Athens

1. Medieval Islamic textiles in the Eastern Mediterranean
10:00 Alison Ohta, Royal Asiatic Society of Great Britain & Ireland: Chair
10:10 Scott Redford, SOAS-University of London: ‘Seljuk silks, standards and emblems’
10:30 Marielle Martiniani-Reber, Musées d’Art et d’Histoire de Genève: ‘The relationship between Islamic and Byzantine textiles during the Middle Byzantine period’
10: 50 Maria Sardi, SOAS-University of London: ‘Towards a standardization of Mamluk aesthetic: influences and identity as reflected on textiles’
11:10 Discussion

11:30 Coffee break

2. Western Mediterranean cross-cultural encounters
11:40 Mina Moraitou, Benaki Museum: Chair
11: 50 Ana Cabrera, Museo Nacional de Artes Decorativas & Laura Rodríguez Peinado, Universidad Complutense de Madrid: ‘Medieval Textiles from the Iberian Peninsula: state of the art and new approaches of study’
12:20 Vera-Simone Schulz, Kunsthistorisches Institut in Florenz: ‘Entangled Identities: Textiles and the Art and Architecture of the Italian Peninsula in a Mediterranean Perspective’
12:40 Discussion

13:00 Lunch break

3. The multi-cultural Ottoman Empire
14:00 Helen Philon, Independent scholar: Chair
14:10 Anna Ballian, Benaki Museum (Emerita): ‘Chios silks’
14:30 Amanda Philips, University of Virginia: ‘Interventions in technology and fashion: the case of Ottoman compound weaves’
14:50 Elena Papastavrou, Hellenic Ministry of Culture & Sports: ‘Greek-Orthodox cultural identity as reflected on Constantinopolitan Church Embroidery’
15:10 Discussion

15:30 Coffee break

4. Eastern and Oriental Orthodox Christian textiles
15:40 Warren Woodfin, City University of New York: Chair
15:50 Dickran Kouymjian, California State University-Fresno (Emeritus): ‘Armenian Altar Curtains: Repository of Tradition and Innovation’
16:10 Nikolaos Vryzidis, British School at Athens: ‘Animal motifs on Asian silks used by the Greek Church: an afterlife of Byzantine iconography?’
16: 30 Jacopo Gnisci, Independent scholar: ‘Towards a History of Ecclesiastical Dress in Early Solomonic Ethiopia’
16:50 Discussion

General discussion and concluding remarks
17:10 Nikolaos Vryzidis, British School at Athens

End

4 June 2016

Study day (attendance by invitation only)

10:00-13:00 Handling session (Benaki Museum Peiraios annex), hosted by Mina Moraitou
15:00 Museum visit (Benaki Museum main building), hosted by Anastasia Drandaki
End

During the Middle Ages, the southern and south-western areas of the Voivodat of Transylvania and Kingdom of Hungary, respectively, represented a border region where several ethnic and confessional groups coexisted, each of them bringing... more

During the Middle Ages, the southern and south-western areas of the Voivodat of Transylvania and Kingdom of Hungary, respectively, represented a border region where several ethnic and confessional groups coexisted, each of them bringing into play its own cultural and religious tradition. Under Latin rule, Orthodox Romanians (Vlachs) lived together with Catholic Hungarians, Szeklers, and Saxons, their long-lasting convivencia generating frequent encounters with the culture of the Other, which left deep traces in the religious art of both confessional groups. Orthodox patrons had an entangled relationship with Western art, resorting often to masons active on the neighboring, Catholic sites, which created for them religious edifices with Western appearance. Although Orthodox patrons entrusted their churches’ decoration mainly to painters of Byzantine tradition, these artists were highly receptive to themes and motifs typical for Western/Catholic iconography. Additionally, Orthodox patrons resorted sometimes to Western workshops for decorating their religious edifices with wall paintings. The article focuses on two case studies – the mural decoration of the sanctuaries of the neighboring Orthodox churches in Strei (Hunyad County, Voivodat of Transylvania) and Hălmagiu (Arad County, Kingdom of Hungary), which was executed during the first half of the 14th century and between the late-14th and early-15th century, respectively. When decorating the altar space of these Eastern-rite churches, the two Western workshops needed to adapt continuously their iconographic and formal vocabulary, in order to respond to the requirements of the particular worship space they decorated or to their commissioners’ devotional sensibility and demands. This led to frequent phenomena of hybridization in the field of religious art, which escape the usual categories that history of medieval art operates with and which challenge traditional, art-historical labeling (e.g., Byzantine/Eastern versus Western or Orthodox versus Catholic).

През Средновековието южните и югозападните части на Войводство Трансилвания и Унгарското кралство са райони, в които съжителстват по няколко конфесионални групи, всяка от които има своя културна и религиозна традиция. При управлението на латините православните румънци (власи) живеели с унгарци католици, шеклери и саксонци, като тяхната conviventia генерира чести взаимодействия, а това оставя дълбоки следи в религиозното изкуство и на двете религиозни групи. Православните дарители имат сложна релация със западното изкуство, възлагайки често поръчки на строители, които работят в съседните земи с католически градове, като в резултат на това създават религиозни сгради със „западен“ облик. Въпреки че православните ктитори поверяват украсата на своите църкви на майстори, работещи във византийската традиция, тези художници проявяват висока степен на възприемчивост по отношение на сюжети и мотиви, характерни за западната/католическата иконография. А може да се добави, че православните дарители предоставят на западни ателиета да украсят техните религиозни сгради със стенописи.
Тази статия се фокусира върху два характерни казуса – стенописната украса на православните храмове в съседни области: в Стрей (област Хуняд, Войводство Трансилвания) и в Хълмаджю (област Заранд, Кралство Унгария), изпълнени респективно през първата половина на XIV в. и между късния XIV в. и ранния XV в. При декорирането на олтарното пространство на тези православни храмове двете западни ателиета се принуждават последователно да пригодят своя иконографски и формален изказ, за да отговорят на изискванията на това специфично култово пространство или на чувствителността на поръчителите. Това „нагаждане“ често води до хибридизация на явленията в областта на църковното изкуство, което бяга от обичайните си категории, и представлява предизвикателство за традиционното изкуствоведско етикетиране на познатите ни опозиции: византийско/източно versus западно или православно versus католическо.

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- by Dragos Gh. Nastasoiu
- •
- 29
  Art History, Hybridity, Cross-Cultural Studies, History of Art

With this paper I aim to present some new evidence concerning the art production in Hospitaller Rhodes (1309-1522), using as case study two icons depicting the Annunciation, one belonging to the Municipal Gallery of Vicenza, and the other... more

Deşi restaurarea a fost începută în 1994-1995 şi este încă neîncheiată, lucrările de decapare a picturilor murale ale bisericii Sf. Nicolae din Ribiţa (jud. Hunedoara) întreprinse în decursul a 20 de ani au adus la lumină o serie de... more

Deşi restaurarea a fost începută în 1994-1995 şi este încă neîncheiată, lucrările de decapare a picturilor murale ale bisericii Sf. Nicolae din Ribiţa (jud. Hunedoara) întreprinse în decursul a 20 de ani au adus la lumină o serie de informaţii noi care permit formularea unor ipoteze în legătură cu datarea ansamblului mural. Determinată de dorinţa de a corecta lectura eronată şi preluată ca atare de către istoricii de artă a unei inscripţii noi, studiul este o reexaminare critică a informaţiilor oferite de inscripţiile în slavonă păstrate în biserică: pisania din tabloul votiv, inscripţiile cu caracter votiv de deasupra şi de lângă reprezentarea Sf. Ioan Botezătorul (toate trei în registrul inferior al peretelui sudic al navei) şi inscripţia nouă din altar (partea nordică a bolţii, între reprezentările a doi Evanghelişti aşezaţi). Caracterul fragmentar al acestor inscripţii şi examinarea critică a conţinutului lor nu permit decât formularea unor ipoteze legate de datarea ansamblului mural care vor fi sau nu confirmate în momentul încheierii lucrărilor de decapare, curăţare şi restaurare a frescelor medievale. Detaliul anului conţinut odinioară de pisania din tabloul votiv şi citit drept 6925 (1417) de către Silviu Dragomir nu apare în fotografia de dinainte de 1930 care îi însoţeşte studiul, istoricul bazându-şi lectura pe transcrierea textului pisaniei făcută în 1869-1870 de către preotul din Ribiţa, cu doar un an după publicarea de către Ödön Nemes a unor informaţii despre ctitori şi inscripţii care precizează anul 1404. Anul oferit de inscripţia fragmentară din altar nu se mai păstrează, însă informaţia încă existentă pare să indice anul 1393 drept data la care a fost realizată decoraţia murală cel puţin a altarului, dacă nu a întregii biserici (numai finalizarea lucrărilor de restaurare a frescelor poate aduce probe certe pentru conturarea unei mai ferme definiri a etapelor de decorare). Examenul epigrafic şi paleografic parţial al materialului din biserică a indicat existenţa a cel puţin două „mâini” unice, inscripţiile din pisanie şi de lângă regii sfinţi ai Ungariei distingându-se atât între ele, cât şi în raport cu celelalte inscripţii din biserică. Informaţiile oferite de cele patru inscripţii cu caracter votiv au condus la avansarea ipotezei că ansamblul mural a fost realizat din voinţa mai multor donatori care au participat financiar în măsuri diferite, fie simultan, fie în perioade distincte, fapt care conferă actului ctitoricesc caracter cumulativ, un lucru deloc izolat în Ţările Crişurilor şi Haţegului.
Bien que la restauration de l’église de Ribiţa (région de Hunedoara) eût démarré aux années 1994-1995 et qu’elle soit encore inachevée, les travaux de décapage des peintures murales ont mis en lumière un certain nombre de nouvelles données permettant à formuler certaines hypothèses sur la datation des peintures murales. Poussée par le désir de corriger la lecture erronée – prise comme telle par les historiens de l’art – d’une inscription récemment découverte, l’étude est devenue un examen critique des informations données par les textes slavons conservés dans l’église : de l’inscription de la peinture votive, des inscriptions de nature votive de l’au-dessus et du voisinage immédiat de l’image de Saint Jean-Baptiste (toutes les trois dans le registre inférieur de la paroi sud du naos) et d’une inscription récemment découverte (dans la partie nord de la voûte de l’autel, entre les représentations de deux évangélistes assis). Le caractère fragmentaire de ces inscriptions et l’examen critique de leur contenu ne permettent que de formuler des hypothèses au sujet de la datation de l’ensemble des peintures murales : que ces hypothèses soient confirmées ou non, nous allons le savoir lors de l’achèvement des travaux de décapage, de nettoyage et de restauration des fresques. Le détail de la peinture votive avec l’indication de la date chronologique lue par Silviu Dragomir comme l’année 6925 (=1417) ne figure pas dans la photo d’avant 1930 qui accompagne son étude. L’historien roumain s’est probablement basé sur la transcription de l’inscription faite en 1869-1870 par le prêtre de Ribiţa, juste un an avant la publication par Ödön Nemes des informations à propos des fondateurs de l’église et des inscriptions indiquant l’année 1404. L’année de l’inscription fragmentaire de l’autel n’a pas été conservée, mais des informations qui existent encore semblent indiquer l’année 1393 étant la date à laquelle on a réalisé au moins la décoration murale de l’autel, sinon toute la peinture de l’église (seule la fin de la restauration des fresques peut apporter des preuves claires et concluantes pour avancer une formule plus précise au sujet des étapes de la décoration). L’examen épigraphique et paléographique des peintures et des textes de l’église ont indiqué l’existence d’au moins deux « mains » individuelles: l’inscription votive et les inscriptions avoisinées aux images des saints rois hongrois se distinguent à la fois entre elles et par rapport aux autres inscriptions de l’église. Les informations fournies par les quatre inscriptions au caractère votif ont conduit à l’hypothèse selon laquelle l’ensemble des peintures murales a été matérialisé par la volonté de plusieurs donateurs qui ont contribué financièrement (à hauteurs différentes !) simultanément ou consécutivement : ce qui imprime un caractère cumulatif à l’acte fondateur – chose loin d’être isolée dans les cas des Pays du Criş et du Haţeg.

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- by Dragos Gh. Nastasoiu and +1
  Anna Adashinskaya
- •
- 30
  Art History, Hybridity, Old Church Slavonic, Cross-Cultural Studies

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the... more

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- by Maria Paschali
- •
- 20
  Hagiography, Liturgy, Medieval Studies, Cyprus Studies

This is the first time an exhibition has gathered together 600 pieces of Byzantine art, covering a large proportion of public and private collections in Switzerland, reminding us of the strong link between this country and the huge empire... more

Co-written with Jannic Durand (main author)

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- by Marielle Martiniani-Reber
- •
- 12
  Textiles, Cyprus Studies, Embroidery, Crusader Archaeology

The paper deals with the origins of the portable altar – the Byzantine antimension. Altaria portatilia were mentioned in literary sources since the seventh–eighth centuries. The sources also evidence their indispensable role related to... more

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- by Katerina Karapli and +1
  Elena Papastavrou
- •
- 29
  Textiles, Material culture of religion, Printed Textiles, Eucharist

Ion cymatium, i.e. egg end dart, is a molding which is shaped by full or half vertical oval forms aligned alternately and between them; pointy leaves resembling dart ends are placed. Generally the patterns used in Byzantine art assume the... more

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- by Elena Papastavrou
- •
- 42
  Iconography, Art History, Medieval Studies, Cross-Cultural Studies

Abstract: This iconographic study focuses on the representation of Emperor Heraclius (ca. 575-641) in Western Europe between the eleventh and thirteenth centuries. In 614, the Persians – led by King Chosroes II – invaded Palestine,... more

By focusing on the famous donor portrait of sebastokrator Kaloyan and his wife Desislava painted in 1259, and an overlooked 14 th-century fresco of the Presentation of the Virgin funded by Ivanko and Slav, this study approaches the visual... more

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- by Lilyana Yordanova
- •
- 9
  Portraits, Medieval Art, Patronage (Medieval Studies), Agency

The topic of this paper is a unique Palaiologan two-sided icon with feast scenes (NMH, Inv. No. 29049). A small inset icon which is now missing was incorporated in the centre of the icon. The incorporation of a small earlier icon in a... more

The topic of this paper is a unique Palaiologan two-sided icon with feast
scenes (NMH, Inv. No. 29049). A small inset icon which is now missing was
incorporated in the centre of the icon. The incorporation of a small earlier icon in
a bigger one is a very rare practice, which occurred after the 13th century; three
such examples are from Salonika. The missing inset icon probably depicted an
image related to Christ’s Incarnation as Holy Virgin or as Christ.
Only three examples of two-sided processional icons with feast scenes are
known in Byzantine art: Holy Virgin Odegheria, and Annunciation – Scenes from
the Paschal cycle (beginning of 13th C. from St Nicholas Church in Melnik);
Holy Virgin Pafsolypi and ten scenes from the Dodekaortion – Crucifixion and
Prophets (second half of 14th C.; Constantinople, Holy Trinity Church, Chalki);
Holy Virgin Odegheria and Dodekaortion – Chetoimasia (second half of 14th C.,
BXM, Athens).
Twelve scenes are represented on the icon, but it is not exactly the Dodekaortion, because the Descent from the Cross was depicted instead of the Pentecost.
It is a consequence of the use of this icon during the Liturgical procession on
Good Friday. The Annunciation is divided across either side of the missing inset
icon – Archangel Gabriel on the right side, the Holy Virgin on the left.
On the other side Christ Pantokrator, flanked by the archangels Michael and
Gabriel, is represented half-length, holding an open Gospel with an inscription
in Greek from John 8:12. The inscription has many grammatical mistakes, which
suggests that the author was probably not Greek.
The provenance of the icon is unknown, but it is possibly from Nessebar
or Melnik or elsewhere. In any case, the painter is connected to the 13th-14th
century iconographic and stylistic traditions of the so-called Macedonian school.
And according to this paper the icon dates to the 1360s-70s. This icon is a good
example of Late Palaiologan art, notable especially for its sophisticated composition, individualized and emotional personages and its light and bright colours
which, in combination with the gold background, create a ceremonial effect.

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- by Ralitsa Rousseva
- •
- 20
  Iconography, Art History, Medieval Studies, Balkan Studies

The message received by the Virgin Mary at the Annunciation led to the conception of the divine Word, the union of God with humans. The dogmatic importance of Salvation related to this event is expressed by the singing of the Magnificat... more

Byzantine and Medieval Art

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