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A beautifully illustrated, new edition of the best single-volume guide to Byzantine art, providing an introduction to the whole period and range of styles.
"Useful ... convenient ... authoritative."--The Times Educational Supplement
Serves as both visual and textual record of the exhibition of the same name, surveying the art of the Middle Byzantine period from the restoration of the use of icons by the Orthodox Church in 843 to the occupation of Constantinople by the Crusader forces from the West from 1204 to 1261. Conceived as a sequel to the 1976 exhibition "Age of Spirituality," which focused on the first centuries of Byzantium. Preceding the catalogue, 17 essays treat the historical context, religious sphere, and secular courtly realm of the empire, and the interactions between Byzantium and other medieval cultures. Abundantly illustrated. Annotation copyrighted by Book News, Inc., Portland, OR
Contains eight lectures given at a fall 1991 lecture series at the Smithsonian Institution, examining the individual and collective experiences of the Byzantine faithful in order to understand the interaction of religion and art in Byzantium and thus bring the civilization to life. Topics include central themes in Byzantine theology, architecture and the liturgy, Byzantine silver plate, and illustrated service books of Byzantium. Excerpts from original sources are quoted extensively. Includes bandw and color photos and a glossary. Paper edition (unseen), $27.50. Annotation copyrighted by Book News, Inc., Portland, OR
Byzantine art has been an underappreciated field, often treated as an adjunct to the arts of the medieval West, if considered at all. In illustrating the richness and diversity of art in the Byzantine world, this handbook will help establish the subject as a distinct field worthy of serious inquiry. Essays consider Byzantine art as art made in the eastern Mediterranean world, including the Balkans, Russia, the Near East and north Africa, between the years 330 and 1453. Much of this art was made for religious purposes, created to enhance and beautify the Orthodox liturgy and worship space, as well as to serve in a royal or domestic context. Discussions in this volume will consider both aspects of this artistic creation, across a wide swath of geography and a long span of time. The volume marries older, object-based considerations of themes and monuments which form the backbone of art history, to considerations drawing on many different methodologies-sociology, semiotics, anthropology, archaeology, reception theory, deconstruction theory, and so on-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 particularly rich field of study, offering a window into the world of this fascinating and beautiful period of art.
Originally published by Prentice-Hall, 1972.
The earthly empire of Byzantium dominated the political and religious history of Europe for over a thousand years. The Byzantines regarded their earthly empire as a reflection of God's empire in heaven, and this ideology was manifested in their politics, religion, and art. In this introduction to the history of Byzantium, from the fourth to the fourteenth century, Rowena Loverance draws on the British Museum's rich collections of spectacular Byzantine silver, ivories, jewelry, and icons, as well as pieces from the empire's Persian and Germanic neighbors. This revised edition, featuring a new introduction, is updated to include the most recent finds and interpretations.
A Lost Art Rediscovered includes a fully illustrated catalogue of all known tiles produced in the region of Constantinople, including the substantial collection owned by the Walters Art Museum, as well as those belonging to museums and private collections around the world. Some tiles included in the catalogue are now lost; the discovery of others is reported here for the first time. A series of scholarly essays gives the ceramics their rightful place in the study of Byzantine art and treats aspects of patronage, manufacture, function, ornament, and cultural significance. This comprehensive publication heralds the first large-scale, permanent installation of the Byzantine tiles in the collection of the Walters Art Museum. Book jacket.
The fall of the Byzantine capital of Constantinople to the Latin West in 1204 during the Fourth Crusade abruptly interrupted nearly nine hundred years of artistic and cultural traditions. In 1261, however, the Byzantine general Michael VIII Palaiologos triumphantly re-entered Constantinople and reclaimed the seat of the empire, initiating a resurgence of art and culture that would continue for nearly three hundred years, not only in the waning empire itself but also among rival Eastern Christian nations eager to assume its legacy. Byzantium: Faith and Power (1261–1557), and the groundbreaking exhibition that it accompanies, explores the artistic and cultural flowering of the last centuries of the "Empire of the Romans" and its enduring heritage. Conceived as the third of a trio of exhibitions dedicated to a fuller understanding of the art of the Byzantine Empire, whose influence spanned more than a millennium, "Byzantium: Faith and Power (1261–1557)" follows the 1997 landmark presentation of "The Glory of Byzantium," which focused on the art and culture of the Middle Byzantine era—the Second Golden Age of the Byzantine Empire (843–1261). In the late 1970s, "The Age of Spirituality" explored the early centuries of Byzantium's history. The present concluding segment explores the exceptional artistic accomplishments of an era too often considered in terms of political decline. Magnificent works—from splendid frescoes, textiles, gilded metalwork, and mosaics to elaborately decorated manuscripts and liturgical objects—testify to the artistic and intellectual vigor of the Late and Post-Byzantine era. In addition, forty magnificent icons from the Holy Monastery of Saint Catherine, Sinai, Egypt, join others from leading international institutions in a splendid gathering of these powerful religious images. While the political strength of the empire weakened, the creativity and learning of Byzantium spread father than ever before. The exceptional works of secular and religious art produced by Late Byzantine artists were emulated and transformed by other Eastern Christian centers of power, among them Russia, Serbia, Bulgaria, and Cilician Armenia. The Islamic world adapted motifs drawn from Byzantium's imperial past, as Christian minorities in the Muslin East continued Byzantine customs. From Italy to the Lowlands, Byzantium's artistic and intellectual practices deeply influenced the development of the Renaissance, while, in turn, Byzantium's own traditions reflected the empire's connections with the Latin West. Fine examples of these interrelationships are illustrated by important panel paintings, ceramics, and illuminated manuscripts, among other objects. In 1557 the "Empire of the Romans," as its citizens knew it, which had fallen to the Ottoman Turks in 1453, was renamed Byzantium by the German scholar Hieronymus Wolf. The cultural and historical interaction and mutual influence of these major cultures—the Latin West and the Christian and Islamic East—during this fascinating period are investigated in this publication by a renowned group of international scholars in seventeen major essays and catalogue discussions of more than 350 exhibited objects.
For each major period, the developments affecting the entire range of artistic disciplines are placed in context in a brief historical introduction, and the author reveals the diversity and incomparable richness of an art which is essentially religious.