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Late Byzantine Rings, 1204-1453 is the first study of the rings of the final years of the Byzantine Empire, the period encompassing the Latin occupation of Constantinople (1204-1261) and the restored empire under the Palaiologan rulers until the fall of Byzantium to the Turks in 1453. The rings from this period are remarkable not only for their fine design but also for the variety of inscriptions they bear, including personal names and monograms, official titles, and epigrams composed by Byzantine poets. The book illustrates and discusses nearly fifty rings from the Palaiologan period, as well as some earlier Byzantine rings, contemporary Byzantine jewelry, and related material from Bulgaria, Serbia, and the West. Many of the rings are published here for the first time. The study begins with a review of the great diversity of rings that existed at the end of the twelfth century, just before the Latin Conquest, and suggests that in view of the occupation of both Constantinople and Thessalonica, the production of rings and jewelry in Byzantine style was disrupted. When the Byzantine workshops in Constantinople resumed after 1261, the rings took new forms, combining tradition Byzantine style with considerable Western influence apparent in the style of engraving and the occasional use of engraved gems. The material gathered in this study will be of importance to a variety of students of Byzantine and Medieval history, literature, art, and jewelry. The rings preserve a number of previously unrecorded personal names and titles that shed light on relations between the imperial court and the new landowning class that emerged in the late Byzantine period. Find sites and names also demonstrate a great degree of political and economic contact with neighboring Serbia and Bulgaria. Influence from the West (especially Venice) is apparent in the workmanship of the rings and their frequent use of heraldic devices in Western style. Verses engraved on some rings can be identified as works of both traditional and contemporary Byzantine poets. The surviving rings also demonstrate that fine quality jewelry was still being produced in the imperial court in Constantinople in the Palaiologan period.
Examining a wide body of sources this book offers a comprehensive analysis of late Byzantine attitudes to warfare and places late Byzantine military ethos, thought and practice in the wider geographical, cultural and historical context.
This book explores the nexus of art, personal piety, and self-representation in the last centuries of Byzantium. Spanning the period from around 1100 to around 1450, it focuses upon the evidence of verse inscriptions, or epigrams, on works of art. Epigrammatic poetry, Professor Drpić argues, constitutes a critical - if largely neglected - source for reconstructing aesthetic and socio-cultural discourses that informed the making, use, and perception of art in the Byzantine world. Bringing together art-historical and literary modes of analysis, the book examines epigrams and other related texts alongside an array of objects, including icons, reliquaries, ecclesiastical textiles, mosaics, and entire church buildings. By attending to such diverse topics as devotional self-fashioning, the aesthetics of adornment, sacred giving, and the erotics of the icon, this study offers a penetrating and highly original account of Byzantine art and its place in Byzantine society and religious life.
Secular Byzantine Women examines female material culture during the Late Roman, Byzantine, and Post-Byzantine eras, to better understand the lives of ordinary and humble women during this period. Although recent scholarship has contributed greatly to our knowledge of Byzantine and medieval women, such research has largely focused on female saints, imperial figures, and prominent women of local communities. But what about secular and non-privileged women? Bringing together scholars from various fields, including archaeology, history, theology, anthropology, and ethnography, this volume seeks to answer this important question. The chapters examine the everyday lives of lay women, including their working routines, their clothing, and precious possessions. This book will appeal to scholars and students of Byzantine history, art, and archaeology, as well as those interested in gender and material culture studies.
In Coinage and Money Julian Baker offers a complete monetary history of medieval Greece, encompassing numismatic and documentary sources, and contributing to the general historiography.
This collection explores the ancient fountains of Byzantium, Constantinople and Istanbul, reviving the senses of past water cultures.
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.
"This handbook offers a wide-ranging introduction to the richness and diversity of the arts in the Byzantine world. It includes thirty-eight essays by international authors, from prominent researchers to emerging scholars, on various issues and media. Discussions consider art created for religious purposes, to enhance and beautify the Orthodox liturgy and worship space, as well as art made to serve in royal and domestic contexts. While Byzantium is defined as the years 330-1453 CE, some chapters treat the aftermath and influence of Byzantine art on later periods. Arts covered include buildings and objects from the Eastern Mediterranean region, including the Balkans, Russia, North Africa, and the Near East. The volume brings together object-based considerations of themes and monuments which form the backbone of art history, with considerations drawing on many different methodologies-sociology, semiotics, anthropology, archaeology, reception theory, deconstruction theory, among others-all in an up-to-date synthesis of scholarship on Byzantine art and architecture. The Oxford Handbook of Byzantine Art and Architecture is a comprehensive overview of a rich field of study, offering a window into the world of this distinct and fascinating period of art"--
In twelfth-century Byzantium, poetry played a key part in various contexts of textual production and consumption. One of the leading poets of this period was Theodoros Prodromos, whose surviving corpus comprises approximately 17,000 verses. Even though most of his poetry has been presented in modern critical editions, a group of his works has been overlooked by modern philologists and literary scholars alike. The selected corpus—conventionally designated as Miscellaneous Poems—consists of texts on various themes and in a wide range of genres, ranging from cycles of religious and secular epigrams to riddles, ethopoiiai, and works of a self-referential and essayistic nature. This book includes the first critical edition and study of these poems, accompanied by English translations and commentaries. Their study contributes to a more nuanced picture of Prodromos' intellectual profile, expanding his image as the 'poet laureate' of the Komnenian court and providing entirely new insights into his activity in the different settings of Constantinopolitan intellectual life. The book also sheds new light on the complex relationship between patronage and other aspects of literary activity and the circulation of the same text in different performative contexts.
The late Byzantine period was a time characterized by both civil strife and foreign invasion, framed by two cataclysmic events: the fall of Constantinople to the western Europeans in 1204 and again to the Ottoman Turks in 1453. Mark C. Bartusis here opens an extraordinary window on the Byzantine Empire during its last centuries by providing the first comprehensive treatment of the dying empire's military. Although the Byzantine army was highly visible, it was increasingly ineffective in preventing the incursion of western European crusaders into the Aegean, the advance of the Ottoman Turks into Europe, and the slow decline and eventual fall of the thousand-year Byzantine Empire. Using all the available Greek, western European, Slavic, and Turkish sources, Bartusis describes the evolution of the army both as an institution and as an instrument of imperial policy. He considers the army's size, organization, administration, and the varieties of soldiers, and he examines Byzantine feudalism and the army's impact on society and the economy. In its extensive use of soldier companies composed of foreign mercenaries, the Byzantine army had many parallels with those of western Europe; in the final analysis, Bartusis contends, the death of Byzantium was attributable more to a shrinking fiscal base than to any lack of creative military thinking on the part of its leaders.