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In Byzantium there were two overlapping systems of dress: a semiotic one whereby dress was a code for rank and wealth, and a fashion system where dress was based on the desire to look a certain way. This book explains secular dress from the eighth to the twelfth centuries through an examination of painted representations.
Clothing styles from all classes during the Byzantine Empire are depicted here in more than 80 drawings. Included are examples of royal wedding garb, a shepherd in a short tunic, a court dancer, a court dignitary, a merchant, a naval officer, body armor of Roman warriors, a priest, and the robes of the Emperor Constantine. Captions accompany the illustrations.
315 renderings of Doric and Ionic styles of dress for women, gracefully arranged Roman togas, vestments of the Eastern Orthodox Church, hairdressing, jewelry, and other decorative elements. Includes instructions and flat patterns.
As absolute as Hitler's control over the German war machine was, it depended on the ability, judgment and unquestioning loyalty of the senior officers charged with putting his ideas, however difficult, into effect.Top military historian James Lucas examines the stories of fourteen of these men: all of different rank, from varied backgrounds, and highly awarded, they exemplify German military prowess at its most dangerous. Among his subjects are Eduard Dietl, the commander of German forces in Norway and Eastern Europe; Werner Kampf, one of the most successful Panzer commanders of the war; and Kurt Meyer, commander of the Hitler Youth Division and one of Germany's youngest general officers.The author, one of the leading experts on all aspects of German military conduct of the Second World War, offers the reader a rare look into the nature of the German Army a curious mix of individual strength, petty officialdom and pragmatic action.
This examination of realia in Byzantine religious painting provides valuable information on Byzantine dress, household effects and implements, while introducing at the same time an alternative, literally 'objective', approach to the study of the formative processes of Byzantine art.
This volume brings together a group of international scholars in new explorations of the world of Byzantine women in the period 800-1200. The specific aim of this collection is to investigate the participation of women - non-imperial women in particular - in supposedly 'masculine' fields of operation. Contributions focus on women's participation in the street life of Constantinople, their appearance in Byzantine fiscal documents, their monastic foundations, their costume and engagement with entertainment at the imperial court, and the way heroines are portrayed in the Byzantine novels.
A detailed, finely researched and profusely illustrated history of clothing and fashion in the Roman Empire.
The imperial court in Constantinople is central to the outsider's vision of Byzantium. However, in spite of its fame in literature and scholarship, there have been few attempts to analyze the court in its entirety as a phenomenon. These studies provide a unified composition by presenting Byzantine courtly life in all its interconnected facets.
This book offers approaches to the study of Byzantine dress of elites and non-elites, in sacred and secular modes, from the beginning of the Empire in the fourth century until the fifteenth century. Byzantine dress is considered from within and outside of the Empire, and examines both artefactual remains as well as emphasizing studies that elucidate Byzantine dress when few or no artifacts exist. Byzantine Dress: A Guide tackles current conceptual frameworks in the first three chapters and considers identity and sartorial signaling among Byzantines as well as foreigners in images as well as actual items of dress. A second section addresses material considerations, reflecting on construction and its effect on value. The interpretation of archaeological material is analyzed, along with reconstruction and context. Dress as part of rituals - at court, church, and in various ceremonies - is the focus of a third section. The final two chapters bring Byzantine dress into conversation with dress studies more broadly. A discursive chapter argues for a fashion system within the Byzantine Empire, which has been largely seen as pre-dating the notion of fashion. The final chapter concerns display, interpretation and conservation of fragmentary material in a museum context. This book aims toward a general audience new to the subject of Byzantine dress. Specialists in Byzantine studies and dress studies more generally will find the attention to current scholarship and archaeological interpretation invaluable for research, and the book will also appeal to an audience new to the subject of Byzantine dress.
This volume aims to broaden and nuance knowledge about the history, art, culture, and heritage of Eastern Europe relative to Byzantium. From the thirteenth century to the decades after the fall of Constantinople in 1453, the regions of the Danube River stood at the intersection of different traditions, and the river itself has served as a marker of connection and division, as well as a site of cultural contact and negotiation. The Routledge Handbook of Byzantine Visual Culture in the Danube Regions, 1300–1600 brings to light the interconnectedness of this broad geographical area too often either studied in parts or neglected altogether, emphasizing its shared history and heritage of the regions of modern Greece, Croatia, Serbia, Bulgaria, Romania, Hungary, Slovakia, and Czechia. The aim is to challenge established perceptions of what constitutes ideological and historical facets of the past, as well as Byzantine and post-Byzantine cultural and artistic production in a region of the world that has yet to establish a firm footing on the map of art history. The 24 chapters offer a fresh and original approach to the history, literature, and art history of the Danube regions, thus being accessible to students thematically, chronologically, or by case study; each part can be read independently or explored as part of a whole.