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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 forms part of the Evergetis Project which aims to investigate all surviving texts associated with the Monastery of the Theotokos Evergetis founded in 1049 near Constantinople. A book-length introduction sets out the historical significance of the house for the development of Byzantine monasticism and discusses its administration, liturgy and way of life. An English translation of the Hypotyposis (the monastery's foundation document) is provided, accompanied by detailed notes. Previous scholarship on the authorship of the Hypotyposis and the evolution of the text is discussed and linguistic analysis used to suggest that traces of the original foundation document by Paul Evergetinos can be identified within it. The Hypotyposis was widely used as a model for later Byzantine and Slavonic typika and the precise relationship of these documents one to the other is demonstrated in detail. The volume also includes prosopographical material on the known patrons of the monastery, a discussion of its library, English translations of later Greek and Latin texts referring to the monastery and a suggested reconstruction of Paul Evergetinos' original foundation document.
For elegance and beauty, the Constantinopolitan scribes set standards rarely surpassed. The Gospel lectionary was among the books that attracted the most enthusiastic attention of scribes, illuminators, and their patrons. As an important liturgical item, the lectionary was often exquisitely decorated. The subject of this study, the lectionary in the Pierpont Morgan Library, is unusual even among such luxury manuscripts because its scribe laboriously copied every page of text in the shape of a cross. It is one of just three such manuscripts made in Constantinople around the middle of twelfth century, and it is the only one that contains narrative illustration. Jeffrey Anderson provides a full description of the manuscript, and he has translated and indexed its calendar of saints. Each of the miniatures is reproduced, described, and discussed, and Anderson relates some scenes to versions found in other Byzantine lectionaries and Gospels. The illustrations are attributed to two illuminators, and in a separate chapter Anderson situates their contributions with regard to the ruling, writing, and illumination of the pages. He also relates, through style, the cruciform lectionaries to dated twelfth-century monuments to establish their place in the history of Byzantine art.
Christian-Muslim Relations, a Bibliographical History 3 (CMR3) is the third part of a general history of relations between the faiths. Covering the period from 1050 to 1200, it comprises a series of introductory essays, together with the main body of more than one hundred detailed entries on all the works by Christians and Muslims about and against one another that are known from this period. These entries provide biographical details of the authors where known, descriptions and assessments of the works themselves, and complete accounts of manuscripts, editions, translations and studies. The result of collaboration between leading scholars in the field, CMR3 is an indispensable basis for research in all elements of the history of Christian-Muslim relations.
Iconoclasm was the name given to the stance of that portion of Eastern Christianity that rejected worshipping God through images (eikones) representing Christ, the Virgin or the saints and was the official doctrine of the Byzantine Empire for most of the period between 726 and 843. It was a period marked by violent passions on either side. This is the first comprehensive account of the extant contemporary texts relating to this phenomenon and their impact on society, politics and identity. By examining the literary circles emerging both during the time of persecution and immediately after the restoration of icons in 843, the volume casts new light on the striking (re)construction of Byzantine society, whose iconophile identity was biasedly redefined by the political parties led by Theodoros Stoudites, Gregorios Dekapolites and Empress Theodora or the patriarchs Methodios, Ignatios and Photios. It thereby offers an innovative paradigm for approaching Byzantine literature.
This collection of studies in honor of François Bovon highlights the rich diversity found within early expressions of Christianity as evidenced in ancient texts, in early traditions and movements, and in archaic symbols and motifs.
These ten holy women, whose vitae range from the tenth to the thirteenth centuries, represent a wide variety of Byzantine female saints. From nuns disguised as monks to desert harlots, these holy women exemplify some of the divergent paths to sanctification in Byzantium. These vitae are also notable for their details of Byzantine life, providing information on family life and household management, monastic routines, and even a smallpox epidemic. Life of St. Mary/Marinos Life of St. Matrona of Perge Life of St. Mary of Egypt Life of St. Theoktiste of Lesbos Life of St. Elisabeth the Wonderworker Life of St. Athanasia of Aegina Life of St. Theodora of Thessalonike Life of St. Mary the Younger Life of St. Thoma s of Lesbos Life of St. Theodora of Arta