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The first comparative, cross-cultural study of medieval illustrated histories that engages in a direct, confrontational dialogue with Byzantine historical memory.
Two lavish, illustrated histories confronted and contested the Byzantine model of empire. The Madrid Skylitzes was created at the court of Roger II of Sicily in the mid-twelfth century. The Vatican Manasses was produced for Ivan Alexander of Bulgaria in the mid-fourteenth century. Through close analysis of how each chronicle was methodically manipulated, this study argues that Byzantine history was selectively re-imagined to suit the interests of outsiders. The Madrid Skylitzes foregrounds regicides, rebellions, and palace intrigue in order to subvert the divinely ordained image of order that Byzantine rulers preferred to project. The Vatican Manasses presents Byzantium as a platform for the accession of Ivan Alexander to the throne of the Third Rome, the last and final world-empire. Imagining the Byzantine Past demonstrates how distinct visions of empire generated diverging versions of Byzantium's past in the aftermath of the Crusades.
In 911, the French king ceded land along the river Seine to Rollo the Viking, on condition that he convert to Christianity. This work advances our understanding of early Normandy and the Vikings' transformation from pagan raiders to Christian princes. It also sheds light on the intersection of religious tradition, identity, and power.
Biography of the medieval Mediterranean's most cross-culturally significant sculptural monument, the tallest in the pre-modern world.
Up to its pillage by the Crusaders in 1204, Constantinople teemed with magnificent statues of emperors, pagan gods, and mythical beasts. Yet the significance of this wealth of public sculpture has hardly been acknowledged beyond late antiquity. In this book, Paroma Chatterjee offers a new perspective on the topic, arguing that pagan statues were an integral part of Byzantine visual culture. Examining the evidence in patriographies, chronicles, novels, and epigrams, she demonstrates that the statues were admired for three specific qualities - longevity, mimesis, and prophecy; attributes that rendered them outside of imperial control and endowed them with an enduring charisma sometimes rivaling that of holy icons. Chatterjee's interpretations refine our conceptions of imperial imagery, the Hippodrome, the Macedonian Renaissance, a corpus of secular objects, and Orthodox icons. Her book offers novel insights into Iconoclasm and proposes a more truncated trajectory of the holy icon in medieval Orthodoxy than has been previously acknowledged.
The first major study of the relationship between liturgy and historiography in early medieval Rus.
For more than one thousand years the monastic republic of Mount Athos has been one of the most chronicled and yet least accessible places in the Mediterranean. Difficult to reach until the last century and strictly restricted to male visitors only, the Holy Mountain of Orthodoxy has been known in the Eastern Christian world and in western Europe more through representation than through direct experience. Most writing on Athos has focused on its Byzantine history and sacred heritage. Imagining Mount Athos uncovers a set of alternative and largely unexplored perspectives, equally important in the mapping and dissemination of Athos in popular imagination. The author considers Mount Athos as the site of pre-Christian myths of Renaissance and Enlightenment scholarship, of shelter for Allied refugees during the Second World War, and of a botanical and sociological laboratory for early-twentieth-century scientists. Each chapter considers a different narrative channel through which Athos has entered Orthodox and western European imagination: the mythical, the utopian, the sacred, the scholarly, the geopolitical, and the scientific. Della Dora has assembled a wealth of unique textual, visual, and oral materials without ever having had the opportunity to visit this holy place. In this sense, in addition to making an important contribution to existing scholarship on Mount Athos, the book adds to current theoretical debates in cultural geography and humanities generally about the circulation of knowledge. Imagining Mount Athos's appeal is international and spans Hellenic studies, cultural geography, environmental history, cultural history, religious studies, history of cartography, and art history. The book will be of interest to scholars as well as to a general audience interested in this unique place and its fascinating history.
This is the first major study to comprehensively analyze the art and architecture of the archdiocese of Bari and Canosa during the Byzantine period and the upheaval of the Norman conquest. The book places Bari and Canosa in a Mediterranean context, arguing that international connections with the eastern Mediterranean were a continuous thread that shaped art and architecture throughout the Byzantine and Norman eras. Clare Vernon has examined a wide variety of media, including architecture, sculpture, metalwork, manuscripts, epigraphy and luxury portable objects, as well as patronage, to illustrate how cross-cultural encounters, the first crusade, slavery and continuities and disruptions in the relationship with Constantinople, shaped the visual culture of the archdiocese. From Byzantine to Norman Italy will appeal to students and scholars of Byzantine art, the medieval Mediterranean and the Italo-Norman world.
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.
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.