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Studies in Early Russian Art
This second volume of Viktor Lazarev's studies makes available a comprehensive selection of his papers on the history of early Russian art, principally fresco and panel painting. Most of the articles gathered in this collection were written between 1953 and 1971. Though they are grouped under the title 'Russian art' they are concerned with the art of a far larger community. All the objects discussed by Lazarev in this volume were produced for the Russian church, but not necessarily by Russians or even on Russian soil. The art discussed in these articles belongs, first and foremost, to a Christian tradition. The majority of these studies have previously been published in Russian, and their translation here into English makes them accessible for the first time to most western art historians. Dr Jana Howlett has contributed an Preface assessing the life and work of Viktor Lazarev.
The Russian Icon
"This volume provides the history of Russian icon painting from its origins to the beginning of the sixteenth century. Viktor Lazarev deliberately followed these chronological limits, since the "Golden Age" of icon painting in Russia was the fourteenth and fifteenth centuries, after which followed a rapid decline." "In a clear and intelligible form, using extensive scholarly material, Lazarev describes the birth of the Russian national painting on wood plate, the technique and aesthetics of Russian icons, the main schools of icon painting, and discusses the work of significant artists."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
National Union Catalog
Includes entries for maps and atlases.
Studies in Early Russian Art
This second volume of Viktor Lazarev's studies makes available a comprehensive selection of his papers on the history of early Russian art, principally fresco and panel painting. Most of the articles gathered in this collection were written between 1953 and 1971. Though they are grouped under the title 'Russian art' they are concerned with the art of a far larger community. All the objects discussed by Lazarev in this volume were produced for the Russian church, but not necessarily by Russians or even on Russian soil. The art discussed in these articles belongs, first and foremost, to a Christian tradition. The majority of these studies have previously been published in Russian, and their translation here into English makes them accessible for the first time to most western art historians. Dr Jana Howlett has contributed an Preface assessing the life and work of Viktor Lazarev.
An Open Place
Written from an ecumenical standpoint as a practical aid for moving those experienced in individual spiritual direction toward group practices This book responds to the movement to expand spiritual direction beyond the classic on-with-one model. Group spiritual direction has the potential to offer the rich experience of individual spiritual direction to a much wider audience, yet very little has been written to provide guidance for starting such groups. This book responds to that challenge. It outlines ways that a diverse and ecumenical group of spiritual directors worked to initiate groups in multiple contexts. It examines the many variables-among directors, directees, even meeting spaces-that affect and enliven this ministry. And it summarizes pitfalls, success, and discoveries.
Byzantium in the Czech Lands (4th–16th centuries)
This is the first comprehensive study of Byzantine influence on the art and iconography of East Central Europe and also the first account of the disciplinary development of Byzantine Studies in the Czech and Slovak Republics.
Natural Light in Medieval Churches
Inside Christian churches, natural light has been harnessed to underscore theological, symbolic, and ideological statements. This volume explores how the study of sunlight can reveal aspects of the design, decoration, and function of sacred spaces in the Middle Ages.
