This paper evaluates the evidence for the cult of Saint Catherine of Alexandria/Sinai in Byzantine and post-Byzantine southern Italy as a way of interrogating Byzantium’s symbolic geography. It considers the movement of people and books...
moreThis paper evaluates the evidence for the cult of Saint Catherine of Alexandria/Sinai in Byzantine and post-Byzantine southern Italy as a way of interrogating Byzantium’s symbolic geography. It considers the movement of people and books both eastward and westward; hagiotoponyms, onomastics, and literary evidence; Catherine’s relics and frescoed vita cycles in Italy; and architectural analogies between one of the saint’s cult sites in Italy and her basilica on Mount Sinai.
The website features galleries of medieval objects, buildings, and cities, as well as pedagogical tools (plans, maps, timelines, glossary, and translated primary sources); the podcast Medieval Art Matters illuminates connections between...
moreThe website features galleries of medieval objects, buildings, and cities, as well as pedagogical tools (plans, maps, timelines, glossary, and translated primary sources); the podcast Medieval Art Matters illuminates connections between medieval art and real-world professional practitioners.
This chapter reviews textual, cartographic, and material evidence for contact between China and Byzantium from the fifth to the mid-eighth century. Objects from ‘Fulin’ found in tombs indicate that Byzantine goods, especially gold coins,...
moreThis chapter reviews textual, cartographic, and material evidence for contact between China and Byzantium from the fifth to the mid-eighth century. Objects from ‘Fulin’ found in tombs indicate that Byzantine goods, especially gold coins, reached China via Turkic and Sogdian intermediaries, where they inspired imitations. They seem to have been valued not only for their material but also for their positive associations with the West, associated with immortality and divinity. Evidence for transcultural flow westward is more limited and later in date, but ties with faraway China support the conclusion that Byzantium was a ‘global’ civilisation in the early Byzantine centuries.
This paper is, quite literally, a first word about the subject of Byzantine diagrams as a whole. Neither the Oxford Dictionary of Byzantium, nor Oxford Handbook of Byzantine Studies, nor the Reallexikon zur byzantinischen Kunst has an...
moreThis paper is, quite literally, a first word about the subject of Byzantine diagrams as a whole. Neither the Oxford Dictionary of Byzantium, nor Oxford Handbook of Byzantine Studies, nor the Reallexikon zur byzantinischen Kunst has an entry on diagrams, and the Wiley-Blackwell Companion to Byzantium contains not a single mention of the term. I survey the various types of diagrams included in Byzantine manuscripts from the eighth to the sixteenth century. I classify them by subject and consider selected examples in detail, then conclude with observations about the differences between Byzantine and Western medieval diagrams and why these differences exist.
“Li Monaci” is now the name of a winery in the heel of the Italian boot, but this former fortified farmstead has a subterranean chapel that may once have served a group of monks (monaci). While most of the paintings in the rectangular...
more“Li Monaci” is now the name of a winery in the heel of the Italian boot, but this former fortified farmstead has a subterranean chapel that may once have served a group of monks (monaci). While most of the paintings in the rectangular chapel have disappeared, those on the east wall are well preserved and include saints and Christian narrative scenes, all with bilingual (Latin and Greek) inscriptions, as well as a long dedicatory text in Greek that names the patron and artists and provides the date 1314/15. The ceiling is adorned with frescoed flowers, stars, a large cross, and a unique embracing couple that evokes courtly imagery and the Song of Songs. Li Monaci thus reveals the interweaving of Byzantinizing and "Western" pictorial and textual cultures. The calendrical interpretation proposed here, focusing on Easter and springtime, touches on Henry Maguire’s interest in texts and images, the efficacy of images, and the natural world
ISBN: 9781108483056 Series: Sources for Byzantine Art History 3 In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts...
moreISBN: 9781108483056
Series: Sources for Byzantine Art History 3
In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.
For those within the fields of art history and Byzantine studies, Professor Henry Maguire needs no introduction. His publications transformed the way art historians approach medieval art through his insightful integration of rhetoric,...
moreFor those within the fields of art history and Byzantine studies, Professor Henry Maguire needs no introduction. His publications transformed the way art historians approach medieval art through his insightful integration of rhetoric, poetry and non-canonical objects into the study of Byzantine art. His ground-breaking studies of Byzantine art that consider the natural world, magic, and imperial imagery, among other themes, have re-defined the ways medieval art is interpreted. From notable monuments to small-scale and privately-used objects, Maguire’s work has guided a generation of scholars to new conclusions about the place of art and its function in Byzantium. In this volume, twenty-three of Henry Maguire’s colleagues and friends have contributed papers in his honour, resulting in studies that reflect the broad range of his scholarly interests.
The authors of this contribution are medieval art historians, married to each other, who participated from in a “Connecting Art Histories” initiative funded by the J. Paul Getty Foundation. Titled “Global and Postglobal Perspectives on...
moreThe authors of this contribution are medieval art historians, married to each other, who participated from in a “Connecting Art Histories” initiative funded by the J. Paul Getty Foundation. Titled “Global and Postglobal Perspectives on Medieval Art and Art History,” it involved exchange teaching and funded eld trips with graduate students and faculty from the University of Toronto and the Guangzhou Academy of Fine Arts (GAFA), in southern China. In the fall of , Linda Safran taught two courses at GAFA: a large undergraduate survey of medieval art and architecture and a small MA- level seminar on medieval Sicily, in anticipation of a trip to Sicily in February . In the fall of that year, Adam Cohen offered a graduate seminar on medieval manuscript
illumination to many of the same students at GAFA. The authors were able to augment memories of their seminar meetings with audio recordings made by the students.
There are different ways to understand a text beyond the most common method of sequential reading. Examining the mise-en-page—that is, the design or impagination of the space devoted to writing—can help us move beyond the language of the...
moreThere are different ways to understand a text beyond the most common
method of sequential reading. Examining the mise-en-page—that is, the design or impagination of the space devoted to writing—can help us move beyond the language of the text itself to get closer to its reception. Three inscriptions in Greek (a dedicatory stela of a hospital in Andrano, a painted epitaph in a subterranean chapel at Carpignano, and an incised funerary text at S. Maria di Cerrate) and two incised in Hebrew (both
from Brindisi) are studied here. The manipulation of such features as composition, color, or the size and placement of certain words helps create additional meaning in these texts that transcends a simple reading. The mise-en-page creates a space between the textual and visual worlds that accords agency to the planner, craftsman, and readers
of the text.
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