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Byzantine Art
For each major period, the developments affecting the entire range of artistic disciplines are placed in context in a brief historical introduction, and the author reveals the diversity and incomparable richness of an art which is essentially religious.
The Tradition of the Image of Edessa
The Image of Edessa was an image of Christ, which, according to tradition, was of miraculous origin. It was taken from Edessa to Constantinople in 944, and disappeared from known history in the aftermath of the Fourth Crusade in 1204. It generated, however, a vast amount of literature and hundreds of copies in churches all over the Byzantine world. This book is a study of the literature, paintings, icons and other aspects related to the Image of Edessa. It examines how it was used as a tool to express Christ’s humanity and for various other purposes, and how some of the related literature became completely decontextualised and used as a magical charm, especially in the West.
Armenia
At the foot of Mount Ararat on the crossroads of the eastern and western worlds, medieval Armenians dominated international trading routes that reached from Europe to China and India to Russia. As the first people to convert officially to Christianity, they commissioned and produced some of the most extraordinary religious objects of the Middle Ages. These objects—from sumptuous illuminated manuscripts to handsome carvings, liturgical furnishings, gilded reliquaries, exquisite textiles, and printed books—show the strong persistence of their own cultural identity, as well as the multicultural influences of Armenia’s interactions with Romans, Byzantines, Persians, Muslims, Mongol...
Sacred Plunder
In Sacred Plunder, David Perry argues that plundered relics, and narratives about them, played a central role in shaping the memorial legacy of the Fourth Crusade and the development of Venice’s civic identity in the thirteenth century. After the Fourth Crusade ended in 1204, the disputes over the memory and meaning of the conquest began. Many crusaders faced accusations of impiety, sacrilege, violence, and theft. In their own defense, they produced hagiographical narratives about the movement of relics—a medieval genre called translatio—that restated their own versions of events and shaped the memory of the crusade. The recipients of relics commissioned these unique texts in order to exempt both the objects and the people involved with their theft from broader scrutiny or criticism. Perry further demonstrates how these narratives became a focal point for cultural transformation and an argument for the creation of the new Venetian empire as the city moved from an era of mercantile expansion to one of imperial conquest in the thirteenth century.
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
L'art byzantin
Puisant aux sources de l'Antiquité païenne, classique et orientale, ainsi qu'au répertoire décoratif raffiné de l'islam, l'art byzantin se distingue par un style original et inventif. Le soin apporté à la réalisation des édifices et de leurs décors, le luxe des matériaux sont les symboles d'une civilisation rayonnante s'étendant à son apogée de la Syrie à la Sicile en passant par la Cappadoce et le Péloponnèse. Les hauts lieux de cet art sont ici richement illustrés : Constantinople et l'emblématique basilique Sainte-Sophie, Saint-Marc de Venise et ses trésors, ceux du monastère de Sainte-Catherine dans le Sinaï et du mont Athos en Grèce... ce patrimoine millénaire aux thèmes d'inspiration religieuse mais aussi profane témoigne de l'identité singulière du grand empire chrétien d'Orient.
The Sudarium of Oviedo
The Sudarium of Oviedo throws new light on the last hours of Jesus of Nazareth. It provides a better understanding of the gospel John 20:5-7 and some characteristics of the Shroud of Turin that explain since when the use of the Sudarium is known. During the past few decades, those interested in the Shroud of Turin have also been eager to know what this book reveals about the Sudarium of Oviedo, because it reinforces the possibility that both cloths were used on the same Man. This book presents to English-speaking readers the research on the Sudarium of Oviedo, most of which has only been available in Spanish so far. It includes a thorough critical analysis and new unpublished studies. The bloodstained cloth is claimed to be a relic of Christ. This text discusses its trace through history, the many tests performed directly on it or on its samples, its devotional value, and its comparison with the Shroud of Turin.
Materials Analysis of Byzantine Pottery
This publication brings to a wider audience important new findings in the fields of medieval pottery and archaeometry. The new data that materials analysis provides about Byzantine ceramics and their production at times supports, modifies, and even contradicts conclusions derived from traditional archaeological methods.
Chosen Places: Constructing New Jerusalems in Slavia Orthodoxa
In Chosen Places, Constructing New Jerusalems in Slavia Orthodoxa, Jelena Erdeljan examines the Old Testament topic of the divinely-chosen status of Jerusalem and the phenomenon of translatio Hierosolymi in visual culture, based on the examples of Constantinople, Turnovo, Belgrade, and Moscow.
Moving Women Moving Objects (400–1500)
The present collection forges new ground in the discussion of aristocratic and royal women, their relationships with their objects, and how they, through this material record, navigated the often-disparate spaces of Byzantium, Eastern, and Western Europe from 400 to 1500.
