Focuses on one of the most attractive features of late medieval manuscript illumination: the portrait of the book owner at prayer within the pages of her prayer-book.
Questions how political decline refigures the visual culture of empire by examining the imperial image and the gift in later Byzantium (1261-1453). Provides a more nuanced account of medieval artistic cultural exchange that considers the temporal dimensions of power and the changing fates of empires.
This title examines the parallel phenomena of portraits and icons, and spans from late antiquity through the end of the Byzantine period. Engaging a wide range of material, it addresses prevalent and persistent themes in the creation of a distinctly Christianized portraiture while analyzing the cultural and theological perceptions in place that guided its reception. Christian Rome inherited its traditions and beliefs regarding portraiture from antiquity, especially in terms of its ritual and religious functions. Though certainly altered for its new Christian context, these perceptions did not disappear altogether. Various texts and images survive that allow us to imagine a world where sacred and secular art intermingled, and portraits of Christ and the saints, emperors, bishops, and holy men existed side by side in visual messages of power and hierarchal authority
What kind of lives did women in the Byzantine empire lead? Just how subservient were they in so male-dominated a society? In this collection of biographies Donald M. Nicol uncovers the unexpected fact that in the later years of the empire, at least, some aristocratic women enjoyed influence and exercised initiative. The ten ladies whose lives are described here did not complain of male oppression: instead, despite the conventions of caste and court, they found an outlet for their talents in religion, patronage, friendship and scholarship. They left a lasting influence on the society in which they lived. The story of their achievements offers new perspectives on the Byzantine empire, and a fascinating insight into the lives of women in past times.
"Explores the Byzantine aesthetic of fugitive appearances by placing and filming art objects in spaces of changing light, and by uncovering the shifting appearances expressed in poetry, descriptions of art, and liturgical performance"--Provided by publisher.
This examination of realia in Byzantine religious painting provides valuable information on Byzantine dress, household effects and implements, while introducing at the same time an alternative, literally 'objective', approach to the study of the formative processes of Byzantine art.
Before the Renaissance and Reformation, holy images were treated not as "art" but as objects of veneration which possessed the tangible presence of the Holy. the faithful believed that these images served as relics and were able to work miracles, deliver oracles, and bring victory to the battlefield. In this magisterial book, Hans Belting traces the long history of the sacral image and its changing role--from surrogate for the represented image to an original work of art--in European culture. Likeness and Presence looks at the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images, and presents a compelling interpretation of the place of the image in Western history. -- Back cover
This book covers a subject that has never previously been addressed, and yet it is both a fascinating and a provocative one: the representation of children in Byzantium. The visual material is extensive, intriguing and striking, and the historical context is crucially important to our understanding of Byzantine culture, social history and artistic output. The imagery explored is drawn from the fourth to the fifteenth centuries and encompasses media from manuscripts to mosaics and enamel. Part of the allure of this subject is that people do not associate childhood with Byzantium. Ernst Gombrich commented, 'who could find it easy, after a visit to Ravenna and its solemn mosaics, to think of noisy children in Byzantium?'. However, in Byzantium, patrons of art were often young, such as emperors who acceded to the throne as teenagers, and makers of art, sculptors, mosaicists, painters often began their training at an early age. How did this affect the creation, promotion and production of art? The study questions the definitions and perceptions of childhood, focusing on topics such as the family, saintly children and those associated with imperial power. Cecily Hennessy demonstrates that children are featured often in visual imagery and in key locations, indicating that they played a central role in Byzantine life, something which has previously been overlooked or ignored. In tackling this new subject she reveals important aspects of childhood, youth, and by extension adulthood in Byzantine society and raises issues that are also applicable to the present and to other historical contexts.