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The studies in this volume all deal with images and texts that relate to the veneration of the saints in Byzantium after the 9th century. Some papers are devoted to the church calendar and the annual commemorations of hundreds of saints through liturgical poetry and sequences of isolated images in fresco, icon painting and illuminated manuscripts. Others are concerned with the longer and rarer, narrative cycles devoted to the life of a single saint, cycles found mainly in fresco and on the so-called vita icons that first appear in the East in the late 12th century. Additional studies deal with the developing role of icons in liturgical ceremonies, and with images of a saint being approached by a supplicant or patron. A final section is devoted to places made holy by the saints, and to their holy relics.
This book is a collective reflection on the relationship between theory and methods, as practiced by American archaeologists of the Byzantine period in Greece, Turkey, Ukraine, and Egypt between the 1990s and 2020s. The eleven authors represent a generational voice that employed theory to redirect the established narratives of the golden age of Byzantine archaeology (1960s–1980s) that privileged art and religion. Beyond Icons: Theories and Methods in Byzantine Archaeology in North America originated in three conferences (2010, 2012, and 2013) organized by the Program of Byzantine Studies at Dumbarton Oaks in Washington, D.C. Acknowledging the role that Dumbarton Oaks played in the golden age of Byzantine archaeology, Program Director Margaret Mullett designed these conferences as exercises in conceptualizing the field’s future. The chapters consider theories of fragments, methodologies in regional surface survey, stratigraphy, habitus, phenomenology, gender theory, craft, dreams, and sound. In doing so, they capture a moment in the study of Byzantine archaeology and material culture and chart out future directions for the field. This book will appeal to scholars and students alike, as well as all those interested in Byzantine Studies, medieval archaeology (particularly of the eastern Mediterranean), and Byzantine material culture. It will also be of interest to anyone seeking to understand the emerging narrative of a global Middle Ages. The chapters reflect the ways in which the study of Byzantine archaeology was shaped by the scholarship of those working in the United States and Canada.
The churches of the Byzantine era were built to represent heaven on earth. Architecture, art and liturgy were intertwined in them to a degree that has never been replicated elsewhere, and the symbolism of this relationship had deep and profound meanings. Sacred buildings and their spiritual art underpinned the Eastern liturgical rites, which in turn influenced architectural design and the decoration which accompanied it. Nicholas N Patricios here offers a comprehensive survey, from the age of Constantine to the fall of Constantinople, of the nexus between buildings, worship and art. His identification of seven distinct Byzantine church types, based on a close analysis of 370 church building plans, will have considerable appeal to Byzantinists, lay and scholarly. Beyond categorizing and describing the churches themselves, which are richly illustrated with photographs, plans and diagrams, the author interprets the sacred liturgy that took place within these holy buildings, tracing the development of the worship in conjunction with architectural advances made up to the 15th century. Focusing on buildings located in twenty-two different locations, this sumptuous book is an essential guide to individual features such as the synthronon, templon and ambo and also to the wider significance of Byzantine art and architecture.
Images and texts tell various stories about the Virgin Mary in Byzantium, reflecting an important cult with strong doctrinal foundations.
The articles republished in this volume are ground-breaking studies that employ a large body of religious figural imagery of Byzantine lead seals ranging from the 6th to the 15th century. A number of the studies present tables, charts and graphs in their analysis of iconographic trends and changing popularity of saintly figures over time. And since many of the seals bear inscriptions that include the names, titles or offices of their owners, information often not given for the patrons of sacred images in other media, these diminutive objects permit an investigation into the social use of sacred imagery through the various sectors of Byzantine culture: the civil, ecclesiastical and military administrations. The religious figural imagery of the lead seals, accompanied by their owners’ identifying inscriptions, offers a means of investigating both the broader visual piety of the Byzantine world and the intimate realm of their owners’ personal devotions. Other studies in the volume are devoted to rare or previously unknown sacred images that demonstrate the value of the iconography of Byzantine lead seals for Byzantine studies in general. This volume includes various articles focusing on sphragistic images of saints and on the religious imagery of Byzantine seals as a means of investigating the personal piety of seal owners, as well as the wider realm of the visual piety and religious devotions of Byzantine culture at all levels. A companion volume includes studies dedicated to the image of Christ, primarily found on imperial seals, various images of the Virgin, and narrative or Christological scenes. (CS1086).
This book examines the gendered dimensions of emotions and the emotional aspects of gender within Byzantine culture and suggests possible readings of such instances. In so doing, the volume celebrates the current breadth of Byzantine gender studies while at the same time contributing to the emerging field of Byzantine emotion studies. It offers the reader an array of perspectives encompassing various sources and media, including historiography, hagiography, theological writings, epistolography, erotic literature, art objects, and illuminated manuscripts. The ten chapters cover a time span ranging from the early to the late Byzantine periods. This diversity is secured by an expanded and enriched exploration of the collection’s unifying theme of gendered emotions. The scope and breadth of the chapters also reflect the ways in which Byzantine gender and emotion have been studied thus far, while at the same time offering novel approaches that challenge established opinions in Byzantine studies.
This volume offers an overview of Byzantine manuscript illustration, a central branch of Byzantine art and culture. Just like written texts, illustrations bear witness to Byzantine material culture, imperial ideology and religious beliefs, as well as to the development and spread of Byzantine art. In this sense illustrated books reflect the society that produced and used them. Being portable, they could serve as diplomatic gifts or could be acquired by foreigners. In such cases they became “emissaries” of Byzantine art and culture in Western Europe and the Arabic world. The volume provides for the first time a comprehensive overview of the material, divided by text categories, including both secular and religious manuscripts, and analyses which texts were illustrated in Byzantium, and how. Contributors are Justine M. Andrews, Leslie Brubaker, Annemarie W. Carr, Elina Dobrynina, Maria Evangelatou, Maria Laura Tomea Gavazzoli, Markos Giannoulis, Cecily Hennessy, Ioli Kalavrezou, Maja Kominko, Sofia Kotzabassi, Stavros Lazaris, Kallirroe Linardou, Vasileios Marinis, Kathleen Maxwell, Georgi R. Parpulov, Nancy P. Ševčenko, Jean-Michel Spieser, Mika Takiguchi, Courtney Tomaselli, Marina Toumpouri, Nicolette S. Trahoulia, Vasiliki Tsamakda, and Elisabeth Yota.
The Virgin Mary assumed a position of central importance in Byzantium. This major and authoritative study examines her portrayal in liturgical texts during the first six centuries of Byzantine history. Focusing on three main literary genres that celebrated this holy figure, it highlights the ways in which writers adapted their messages for different audiences. Mary is portrayed variously as defender of the imperial city, Constantinople, virginal Mother of God, and ascetic disciple of Christ. Preachers, hymnographers, and hagiographers used rhetoric to enhance Mary's powerful status in Eastern Christian society, depicting her as virgin and mother, warrior and ascetic, human and semi-divine being. Their paradoxical statements were based on the fundamental mystery that Mary embodied: she was the mother of Christ, the Word of God, who provided him with the human nature that he assumed in his incarnation. This title is also available as Open Access on Cambridge Core.
Explores the literary texts produced during Byzantine Iconoclasm and their use as ideological tools by the main political circles.
How can something finite mediate an infinite God? Weaving patristics, theology, art history, aesthetics, and religious practice with the hermeneutic phenomenology of Hans-George Gadamer and Jean-Luc Marion, Stephanie Rumpza proposes a new answer to this paradox by offering a fresh and original approach to the Byzantine icon. She demonstrates the power and relevance of the phenomenological method to integrate hermeneutic aesthetics and divine transcendence, notably how the material and visual dimensions of the icon are illuminated by traditional practices of prayer. Rumpza's study targets a problem that is a major fault line in the continental philosophy of religion – the integrity of finite beings I relation to a God that transcends them. For philosophers, her book demonstrates the relevance of a cherished religious practice of Eastern Christianity. For art historians, she proposes a novel philosophical paradigm for understanding the icon as it is approached in practice.