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An icon (from the Greek word "eikon," "image") is a wooden panel painting of a holy person or scene from Orthodox Christianity, the religion of the Byzantine Empire that is practiced today mainly in Greece and Russia. It was believed that these works acted as intermediaries between worshipers and the holy personages they depicted. Their pictorial language is stylized and primarily symbolic, rather than literal and narrative. Indeed, every attitude, pose, and color depicted in an icon has a precise meaning, and their painters--usually monks--followed prescribed models from iconographic manuals. The goal of this book is to catalogue the vast heritage of images according to iconographic type and subject, from the most ancient at the Monastery of Saint Catherine in the Sinai to those from Greece, Constantinople, and Russia. Chapters focus on the role of icons in the Orthodox liturgy and on common iconic subjects, including the fathers and saints of the Eastern Church and the life of Jesus and his followers. As with other volumes in the Guide to Imagery series, this book includes a wealth of color illustrations in which details are called out for discussion.
Isolated in the remote Egyptian desert, at the base of Mount Sinai, sits the oldest continuously inhabited monastery in the Christian world. The Holy Monastery of Saint Catherine at Sinai holds the most important collection of Byzantine icons remaining today. This catalogue, published in conjuction with the exhibition Holy Image, Hallowed Ground: Icons from Sinai, on view at the J. Paul Getty Museum from November 14, 2006, to March 4, 2007, features forty-three of the monastery's extremely rare--and rarely exhibited--icons and six manuscripts still little-known to the world at large. The exhibition and catalogue bring to life the central role of the icon in Byzantine religious practices. Themes include the icon's status as holy object, the ways in which the icon sanctified the place of worship, and the monks' quest for the holy. The Greek Orthodox monastery at Mount Sinai not only functioned as a major pilgrimage site for centuries but was also a cultural crossroads at the center of the shifting sands of ecclesiastical and secular politics. The accompanying essays explore how the monastery's contact with the outside world, through pilgrimage, resulted in aesthetic exchanges between the monastery and Coptic, Crusader, and Islamic art; and between the Greek Orthodox and Roman Catholic communities in Europe.
"This illustrated book presents a collection of unique icons not usually seen outside the confines of the living room. A collection assembled by the brothers Simon and Hugo Morsink, both passionate icon lovers and art dealers. Accompanying texts, to which international experts have contributed, explain the meaning of these Greek and Russian icons, dating from the 15th to the 19th century, while several essays take the reader inside the world of this ancient Christian art form."--BOOK JACKET.
The Rena Andreadis icon collection is one of the best known private collections of its kind. It contains Greek icons ranging from the 14th to the 18th century, covering a wide geographical area from Constantinople and mainland Greece to Crete and the Ionian islands. Among them are celebrated works which have frequently been on display to specialists and the general public in exhibitions both in Greece and abroad, and others which are still unknown. The subject matter of the works is particularly varied, combining the most widespread and popular subjects of portable icon painting with others, more unusual, which were dominant in particular regions and periods. From every point of view the Andreadis collection offers a panorama of Greek portable icons and an opportunity to discover the elements they have in common and the multiformity of expression which distinguishes them. It is a challenge which can only be met by linking the works to the equally confused and complex historical path of Hellenism throughout the same centuries.
This title examines the parallel phenomena of portraits and icons, and spans from late antiquity through the end of the Byzantine period. Engaging a wide range of material, it addresses prevalent and persistent themes in the creation of a distinctly Christianized portraiture while analyzing the cultural and theological perceptions in place that guided its reception. Christian Rome inherited its traditions and beliefs regarding portraiture from antiquity, especially in terms of its ritual and religious functions. Though certainly altered for its new Christian context, these perceptions did not disappear altogether. Various texts and images survive that allow us to imagine a world where sacred and secular art intermingled, and portraits of Christ and the saints, emperors, bishops, and holy men existed side by side in visual messages of power and hierarchal authority
This volume focuses on the connections of Arabic-speaking Christians with Eastern-European Christians in Ottoman times, it discusses the circulation of literature, models, iconography, and knowhow between the Middle East and Eastern Europe, and presents new research devoted to them.
A daily prayerbook for iconographers
A Catalogue of Greek Manuscripts at the University of Michigan, Ann Arbor is a comprehensive, fully illustrated catalogue of the largest collection of Greek manuscripts in America, including 110 codices and fragments ranging from the fourth to the nineteenth century. The collection, held in the Special Collections Research Center of the University of Michigan Library, contains many manuscripts from Epirus and the Meteora monasteries built on high pinnacles of rocks in Thessaly. Nadezhda Kavrus-Hoffmann has based the manuscript descriptions on the latest developments in the fields of paleography and codicology, including the newest recommendations of the Institute for Research and History of Texts in Paris. The catalogue includes high-resolution plates of all the manuscripts, allowing researchers to compare the entries with other Greek manuscripts around the world. This catalogue contains a trove of fascinating information related to Byzantine culture that will be available for the first time to scholars working on various disciplines of the humanities such as Classical and Byzantine Studies, Art History, Medieval Studies, Theology, and History. This is the first volume of a projected two-volume set. Volume 2, also by Nadezhda Kavrus-Hoffmann, will contain descriptions of remaining Greek manuscripts in the Library’s collection, starting with Mich. Ms. 59 and ending with Mich. Ms. 238, for a total of 53 manuscripts and 8 fragments. Both volumes will have the same format – catalogue entries for each manuscript together with extensive illustrations. The publication date for Volume 2 has not been established.
Icon and Devotion offers the first extensive presentation in English of the making and meaning of Russian icons. The craft of icon-making is set into the context of forms of worship that emerged in the Russian Orthodox Church in the mid-seventeenth century. Oleg Tarasov shows how icons have held a special place in Russian consciousness because they represented idealized images of Holy Russia. He also looks closely at how and why icons were made. Wonder-working saints and the leaders of such religious schisms as the Old Believers appear in these pages, which are illustrated in halftones with miniature paintings, lithographs and engravings never before published in the English-speaking world. By tracing the artistic vocabulary, techniques and working methods of icon painters, Tarasov shows how icons have been integral to the history of Russian art, influenced by folk and mainstream currents alike. As well as articulating the specifically Russian piety they invoke, he analyzes the significance of icons in the cultural life of modern Russia in the context of popular prints and poster design.