Includes bibliographical references and index.
|Series||Collected studies ;, CS358|
|LC Classifications||ND3357.A1 C87 1992|
|The Physical Object|
|Pagination||1 v. (various pagings) :|
|LC Control Number||91037590|
Ideology, Symbolism and Representation through Byzantine Art. between the heavenly and the earthly and the proclamation of the primacy of spiritual life, in order to subordinate the ’s interest moves from the earthly, worldly, materiality, to the divine, to the Size: KB. [Peers takes] the angelic experience as an instance of the problems inherent in Christian representation. But both astutely and elegantly, he treats angels not simply as an example but as the most enlightening case if we wish to understand these problemsAnthony Cited by: Style and Ideology in Byzantine Imperial Art HENRY MAGUIRE University of Illinois, Urbana-Champaign Abstract The study of style in Byzantine art has an interest for historians as well as connoisseurs. In imperial art, two contrasting conventions of encomium can be dis-tinguished, both having counterparts in court pane-gyrics. This is a required text for an art history course on Byzantine art and architecture that I am taking. The eight well-written lectures cover the rise of Constantinople (modern day Istanbul, Turkey), the central themes of Byzantine theology (Eastern Orthodoxy), and the place of art, particularly iconography, in the worship of the Orthodox Church/5(4).
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. Cecily J. Hilsdale is Associate Professor in the Department of Art History and Communication Studies at McGill University, Montréal. Her research concerns cultural exchange in the medieval Mediterranean, in particular the circulation of Byzantine luxury objects as diplomatic gifts as well as the related dissemination of eastern styles, techniques, and iconographies and ideologies of . A brief treatment of Byzantine art follows. For a treatment of Byzantine architecture, see Western architecture: The Christian a treatment of Byzantine painting, see Western painting: Eastern Christian.. Byzantine art is almost entirely concerned with religious expression and, more specifically, with the impersonal translation of carefully controlled church theology into artistic terms. imperial ideology on the basis of a few significant homiletic examples from the Byzantine capital at the highest level of church and state. 3. Homilies in the Byzantine tradition as a medium of political-ideological correctness outside of the empire (the case of Philagathos Kerameus). 4.
The study of style in Byzantine art has an interest for historians as well as connoisseurs. In imperial art, two contrasting conventions of encomium can be distinguished, both having counterparts in court panegyrics. The first is the metaphorical visualization of the emperor as a garden of the graces; this type of encomium lent itself to expression in classical by: 6. But both astutely and elegantly, he treats angels not simply as an example but as "the "most enlightening case if we wish to understand these problems."--Anthony Cutler, author of "Imagery and Ideology in Byzantine Art". Enluminure byzantine: Origine: RAMEAU: Domaines: Sciences de l'information et de la documentation Byzantine illuminated manuscripts of the Book of Job () The Jaharis Gospel Lectionary () Imagery and ideology in Byzantine art () Theodore Hagiopetrites (). In her study of the relationship between art and its theological, liturgical and literary background in Byzantium, Dr. Gavrilovic has devoted a great deal of attention to the medieval state of Serbia, where, in the process of a strong cultural influence, Byzantine art had taken deep root and was practised with much vigour and individuality.