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Byzantium in Eastern European Visual Culture in the Late Middle Ages focuses on how the heritage of Byzantium was continued and transformed alongside local developments in the artistic and cultural traditions of Eastern Europe between the fourteenth and sixteenth centuries.
This volume builds upon the new worldwide interest in the global Middle Ages. It investigates the prismatic heritage and eclectic artistic production of Eastern Europe between the fourteenth and seventeenth centuries while challenging the temporal and geographic parameters of the study of medieval, Byzantine, post-byzantine and early-modern art. Contact and interchange between the Latin, Greek, and Slavic cultural spheres resulted in local assimilations of select elements that reshaped the artistic landscapes of regions of the Balkan Peninsula and the Carpathian Mountains. The specificities of each region, and in modern times, politics and nationalistic approaches, have reinforced the tendency to treat them separately, preventing scholars from questioning whether the visual output could be considered as an expression of a shared history. The comparative and interdisciplinary framework of this volume provides a holistic view of the arts of these regions by addressing issues of transmission and appropriation, expanding and theorizing cross-cultural contact, while also putting on the global map of art history the rich artistic production of Eastern Europe.
This volume builds upon the new worldwide interest in the global Middle Ages. It investigates the prismatic heritage and eclectic artistic production of Eastern Europe between the fourteenth and seventeenth centuries, while challenging the temporal and geographical parameters of the study of medieval, Byzantine, post-Byzantine, and early-modern art. Contact and interchange between primarily the Latin, Greek, and Slavic cultural spheres resulted in local assimilations of select elements that reshaped the artistic landscapes of regions of the Balkan Peninsula, the Carpathian Mountains, and further north. The specificities of each region, and, in modern times, politics and nationalistic approaches, have reinforced the tendency to treat them separately, preventing scholars from questioning whether the visual output could be considered as an expression of a shared history. The comparative and interdisciplinary framework of this volume provides a holistic view of the visual culture of these regions by addressing issues of transmission and appropriation, as well as notions of cross-cultural contact, while putting on the global map of art history the eclectic artistic production of Eastern Europe.
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.
Winner of the 2023 Early Slavic Studies Book Prize from the Early Slavic Studies Association (ESSA) (Best book) Medieval Moldavia – which was located within present-day northeastern Romania and the Republic of Moldova – developed a bold and eclectic visual culture beginning in the 15th century. Within this networked Carpathian Mountain region, art and architecture reflect the creativity and diversity of the cultural landscapes of Eastern Europe. Moldavian objects and monuments – ranging from fortified monasteries and churches enveloped in fresco cycles to silk embroideries, delicately carved woodwork and metalwork, as well as manuscripts gifted to Mount Athos and other Christian centers – negotiate the complex issues of patronage and community in the region. The works attest to processes of cultural contact and translation, revealing how Western medieval, Byzantine, and Slavic traditions were mediated in Moldavian contexts in the post-Byzantine period. Winner of the 2023 Early Slavic Studies Book Prize, awarded by the Early Slavic Studies Association (ESSA) for the best book published between Sept 1, 2021 and August 31, 2023 in the field of Early Slavic Studies (pre-1800). The awarding committee praised the volume as ‘the first English monograph to provide a comprehensive overview of Moldavia's artistic and architectural landscape during the 15th and 16th centuries, locating the region as a significant facet in the global map of art history.’ Official ESSA announcement.
The book comprises fourteen essays addressing issues of art and architecture as well as archaeology within the context of sacred space, broadly defined and encompassing a wide range of territories, methodologies, approaches, and scholarly concerns. Our point of departure is the built environment, with all that this encompasses, including religious and political ceremony, painted interiors and illuminated manuscripts, patronage, contested space, structural and environmental concerns, sensory properties, the written word as it pertains to architectural projects, and imagined spaces. In all, the scholars involved in this project find fresh approaches and uncover new meanings and interpretations in the material approached within this volume, including buildings and objects found from Europe to Asia, spanning from Late Antiquity through the end of the Middle Ages.
Where are the limits of medieval art as a field of study? What happens when conventionally trained art historians disregard the chronological, geographical, or cultural parameters that both direct and protect their scholarship? Beginning with Thelma K. Thomas and Alicia Walker’s acute assessment of the need for a “medieval art history for now,” the essays in Out of Bounds ask what happens when the study of medieval art disregards boundaries that it once obeyed. The volume focuses on questions surrounding the production of knowledge and on how scholarly investigation beyond the conventional thematic boundaries of medieval art history is changing, demonstrating how the field can address the ethics of scholarship today by positing a global turn in response to growing demands for socially responsible medieval studies. Collectively, the contributors demonstrate how “going out of bounds” can transform modern understanding of the people, traditions, and relationships that gave rise to medieval works. As such, this book argues for the necessity of reshaping scholarly discourse about the nature and significance of medieval art and generates fresh scholarly interpretations and important new critical tools for teaching and researching the Middle Ages. The contributors to this volume are Suzanne Conklin Akbari, Michele Bacci, Jill Caskey, Eva Frojmovic, Sarah M. Guérin, Christina Maranci, Alice Isabella Sullivan, Thelma K. Thomas, Michele Tomasi, and Alicia Walker.
The Routledge Handbook of East Central and Eastern Europe in the Middle Ages, 500–1300 is the first of its kind to provide a point of reference for the history of the whole of Eastern Europe during the Middle Ages. While historians have recognized the importance of integrating the eastern part of the European continent into surveys of the Middle Ages, few have actually paid attention to the region, its specific features, problems of chronology and historiography. This vast region represents more than two-thirds of the European continent, but its history in general—and its medieval history in particular—is poorly known. This book covers the history of the whole region, from the Balkans to the Carpathian Basin, and the Bohemian Forest to the Finnish Bay. It provides an overview of the current state of research and a route map for navigating an abundant historiography available in more than ten different languages. Chapters cover topics as diverse as religion, architecture, art, state formation, migration, law, trade and the experiences of women and children. This book is an essential reference for scholars and students of medieval history, as well as those interested in the history of Central and Eastern Europe.
Winner of the 2020 Verbruggen prize This book provides a comprehensive synthesis of scholarship on Eastern Europe in the Middle Ages. The goal is to offer an overview of the current state of research and a basic route map for navigating an abundant historiography available in more than 10 different languages. The literature published in English on the medieval history of Eastern Europe—books, chapters, and articles—represents a little more than 11 percent of the historiography. The companion is therefore meant to provide an orientation into the existing literature that may not be available because of linguistic barriers and, in addition, an introductory bibliography in English. Winner of the 2020 Verbruggen prize, awarded annually by the De Re Militari society for the best book on medieval military history. The awarding committee commented that the book ‘has an enormous range, and yet is exceptionally scholarly with a fine grasp of detail. Its title points to a general history of eastern Europe, but it is dominated by military episodes which make it of the highest value to anybody writing about war and warmaking in this very neglected area of Europe.’ See inside the book.
Byzantine Art and Renaissance Europe discusses the cultural and artistic interaction between the Byzantine east and western Europe, from the sack of Constantinople by the Fourth Crusade in 1204 to the flourishing of post-Byzantine artistic workshops on Venetian Crete during the fifteenth and sixteenth centuries and the formation of icon collections in Renaissance Italy. The contributors examine the routes by which artistic interaction may have taken place, and explore the reception of Byzantine art in western Europe, analysing why artists and patrons were interested in ideas from the other side of the cultural and religious divide. In the first chapter, Lyn Rodley outlines the development of Byzantine art in the Palaiologan era and its relations with western culture. Hans Bloemsma then re-assesses the influence of Byzantine art on early Italian painting from the point of view of changing demands regarding religious images in Italy. In the first of two chapters on Venetian Crete, Angeliki Lymberopoulou evaluates the impact of the Venetian presence on the production of fresco decorations in regional Byzantine churches on the island. The next chapter, by Diana Newall, continues the exploration of Cretan art manufactured under the Venetians, shifting the focus to the bi-cultural society of the Cretan capital Candia and the rise of the post-Byzantine icon. Kim Woods then addresses the reception of Byzantine icons in western Europe in the late Middle Ages and their role as devotional objects in the Roman Catholic Church. Finally, Rembrandt Duits examines the status of Byzantine icons as collectors’ items in early Renaissance Italy. The inventories of the Medici family and other collectors reveal an appreciation for icons among Italian patrons, which suggests that received notions of Renaissance tastes may be in need of revision. The book thus offers new perspectives and insights and re-positions late and post-Byzantine art in a broader European cultural context.