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Byzantium
The fall of the Byzantine capital of Constantinople to the Latin West in 1204 during the Fourth Crusade abruptly interrupted nearly nine hundred years of artistic and cultural traditions. In 1261, however, the Byzantine general Michael VIII Palaiologos triumphantly re-entered Constantinople and reclaimed the seat of the empire, initiating a resurgence of art and culture that would continue for nearly three hundred years, not only in the waning empire itself but also among rival Eastern Christian nations eager to assume its legacy. Byzantium: Faith and Power (1261–1557), and the groundbreaking exhibition that it accompanies, explores the artistic and cultural flowering of the last centuries...
The Oliphant
This book discusses a group of medieval carved ivory horns, namely oliphants. It draws upon medieval visual as well as literary sources both Arabic and Latin, with an eye to providing an original interpretation of these objects. In doing so, it breaks new ground in the understanding of both oliphants and the historical context of medieval artefacts in general.
The Glory of Byzantium
Serves as both visual and textual record of the exhibition of the same name, surveying the art of the Middle Byzantine period from the restoration of the use of icons by the Orthodox Church in 843 to the occupation of Constantinople by the Crusader forces from the West from 1204 to 1261. Conceived as a sequel to the 1976 exhibition "Age of Spirituality," which focused on the first centuries of Byzantium. Preceding the catalogue, 17 essays treat the historical context, religious sphere, and secular courtly realm of the empire, and the interactions between Byzantium and other medieval cultures. Abundantly illustrated. Annotation copyrighted by Book News, Inc., Portland, OR
The Hand of the Master
This book is the first detailed study in fifty years of Byzantine ivory carving in the tenth and eleventh centuries, the era when work in that medium reached its highest level of attainment. Unique in its aim and range, "The Hand of the Master" considers how, when, and why the Byzantines used ivory for icons and other luxurious items. Based on direct study of the objects, the book discusses more than 150 pieces and is illustrated with new photographs that are indispensable to an understanding of carving techniques and styles. Cutler analyzes the normal working methods of Byzantine carvers, as well as aspects of craftsmanship that enable us to identify distinct hands. These observations are then made the basis of both a revised chronology and a more rigorous system of classification than has existed heretofore. But the recognition of particular sculptors is a means rather than an end in this book. Similarities and differences within this huge body of production allow answers to such broader questions as the functions of craftsmen in this society, their relations with clients and designers, and, ultimately, the significance of ivory in the visual culture of Byzantium.
Late Antique and Byzantine Ivory Carving
These studies are concerned with the roles of both luxurious and less expensive materials in those periods when carved ivory reached its largest audience and performed its widest range of functions before the advent of industrial production in the Gothic era.
Meanings and Functions of the Ruler's Image in the Mediterranean World (11th – 15th Centuries)
(The open access version of this book has been published with the support of the Swiss National Science Foundation.) The book proposes a reassessment of royal portraiture and its function in the Middle Ages via a comparative analysis of works from different areas of the Mediterranean world, where images are seen as only one outcome of wider and multifarious strategies for the public mise-en-scène of the rulers’ bodies. Its emphasis is on the ways in which medieval monarchs in different areas of the Mediterranean constructed their outward appearance and communicated it by means of a variety of rituals, object-types, and media. Contributors are Michele Bacci, Nicolas Bock, Gerardo Boto Varela, Branislav Cvetković, Sofia Fernández Pozzo, Gohar Grigoryan Savary, Elodie Leschot, Vinni Lucherini, Ioanna Rapti, Juan Carlos Ruiz Souza, Marta Serrano-Coll, Lucinia Speciale, Manuela Studer-Karlen, Mirko Vagnoni, and Edda Vardanyan.
Hugo Grotius, Ordinum Hollandiae ac Westfrisiae pietas (1613)
This volume contains Hugo Grotius' first work in the field of Church politics, orginally published in 1613. The book was written to defend the policy of the States of Holland, which was being attacked by the orthodox Calvinistic party in the Netherlands. It was written with an eye to foreign Dutch allies, especially King James I. Grotius' Latin text is here edited critically for the first time and provided with an introduction, an English translation and an extensive commentary. In several appendixes, various texts that are important for the background and the reception of the book are printed, many of them for the first time. Ordinum Pietas is one of the key texts for the knowledge of the religious disputes in the Netherlands during the Twelve Years' Truce (1609-1621).
Byzantine Images and their Afterlives
The twelve papers written for this volume reflect the wide scope of Annemarie Weyl Carr's interests and the equally wide impact of her work. The concepts linking the essays include the examination of form and meaning, the relationship between original and copy, and reception and cultural identity in medieval art and architecture. Carr’s work focuses on the object but considers the audience, looks at the copy for retention or rejection of the original form and meaning, and always seeks to understand the relationship between intent and perception. She examines the elusive nature of ’center’ and ’periphery’, expanding and enriching the discourse of manuscript production, icons and the...
Form, Style and Meaning in Byzantine Church Architecture
Using detailed analyses of individual buildings as a point of departure, Professor Buchwald here examines various approaches to Byzantine architectural forms, and raises questions concerning the use of stylistic and other forms of analysis. One group of articles focuses on stylistic currents in Asia Minor, including that of the 13th-century Lascarid dynasty, previously unknown. Others explore methods which appear to have been used in the design of Byzantine churches, such as dimensional ’rules of thumb’, modular and geometric systems of proportion, and the quadratura, hitherto recognised only in Western architecture. The final essays pose further questions: what were the goals and achievements of Byzantine architects, when they transformed older existing buildings? How, and why, did they use stereometric Euclidean geometry? And was there any ultimately Platonic connection?
An Obscure Portrait
Recent discussions on Byzantine art have been dominated by the question of representing realia. Among these, however, the way works of art reflect the daily life of women have not received much space or attention. The present book studies various images representing women's status and her performative tasks, and their significance from the fourth century to the fall of the Empire, through analysis of archaeological evidence and works of art. It addresses a wide range of questions, some pertaining both to pictorial traditions and to their late antique antecedents, others peculiar to changing and evolving Byzantine culture and mentality. The first chapter deals with the imagery of childbearing...
