The ceramic icon painting is one of the scarcely studied themes in the art of medieval Bulgaria. All that is known in this field has been based on fragmented and few in number painted and embossed white clay icons and meddalions. Using the entire icon material available and investigating it with modern scientific methods is the main merit of this volume, which aims to describe and analyse the medieval Bulgarian ceramic icon from its appearance and flourishing in the late 9th century. The work is based mainly on materials obtained archaelogically (mostly excavations) by the author.
The 28 papers examine questions relating to the extent and nature of Byzantine trade from Late Antiquity into the Middle Ages. The Byzantine state was the only political entity of the Mediterranean to survive Antiquity and thus offers a theoretical standard against which to measure diachronic and regional changes in trading practices within the area and beyond. To complement previous extensive work on late antique long-distance trade within the Mediterranean (based on the grain supply, amphorae and fine ware circulation), the papers concentrate on local and international trade. The emphasis is on recently uncovered or studied archaeological evidence relating to key topics. These include local retail organisation within the city, some regional markets within the empire, the production and/or circulation patterns of particular goods (metalware, ivory and bone, glass, pottery), and objects of international trade, both exports such as wine and glass, imports such as materia medica, and the lack of importation of, for example, Sasanian pottery. In particular, new work relating to specific regions of Byzantium's international trade is highlighted: in Britain, the Levant, the Red Sea, the Black Sea and China. Papers of the 38th Spring Symposium of Byzantine Studies, held in 2004 at Oxford under the auspices of the Committee for Byzantine Studies.
The thirteen papers in this volume were delivered at the international symposium held at The Metropolitan Museum of Art May 23-25, 1997, in the context of "The Glory of Byzantium" exhibition, which was on view from March 11 through July 6, 1997. One of the main purposes of this exhibition was to explore the Byzantine Empire's complex and varied relationship with its neighbors, recognizing the multi-national, multi-ethnic, and multi-cultural character of its artistic traditions. Whereas the symposium was conceived in close conjunction with the exhibition, its intent was somewhat different. It strove to acknowledge the international character and diversity of current scholarship on Byzantine art, and to present not only new material but also the variety of objectives, approaches, and methodologies that shape modern perceptions of the subject. Thus, the symposium was not restricted to a specific theme; instead, the participants were asked to address a broad range of aspects of the "Glory of Byzantium" exhibition. The contributors to this volume, all of whom are scholars of Byzantine art and culture, hail from ten different countries, including Austria, Bulgaria, Georgia, Greece, Hungary, Italy, Poland, the Russian Federation, Ukraine, and the United States of America. They all hold prominent positions in the leading scholarly or cultural institutions of their respective countries, and are distinguished experts in their fields of specialization, with established international reputations. Immediately apparent is that many of the authors are from Eastern Europe, and reside in lands that once were under the ecclesiastical and cultural sway of Byzantium. Yet, their perceptions of the Byzantine artistic legacy, which contributed to the cultural identity of their homelands, rarely are included in such English-language symposia and publications.
This book provides comprehensive information on the geography, history, wildlife, governmental structure, economy, cultural diversity, peoples, religion, and culture of Bulgaria. All books of the critically-acclaimed Cultures of the World(R) series ensure an immersive experience by offering vibrant photographs with descriptive nonfiction narratives, and interactive activities such as creating an authentic traditional dish from an easy-to-follow recipe. Copious maps and detailed timelines present the past and present of the country, while exploration of the art and architecture help your readers to understand why diversity is the spice of Life.
This book accounts for the tumultuous period of the fifth to eleventh centuries from the Fall of Rome and the collapse of the Western Roman Empire through the breakup of the Eastern Roman Empire and loss of pan-Mediterranean rule, until the Turks arrived and seized Anatolia. The volume is divided into a dozen syntheses that each addresses an issue of intrigue for the archaeology of Anatolia, and two dozen case studies on single sites that exemplify its richness. Anatolia was the only major part of the Roman Empire that did not fall in late antiquity; it remained steadfast under Roman rule through the eleventh century. Its personal history stands to elucidate both the emphatic impact of Roman administration in the wake of pan-Mediterranean collapse. Thanks to Byzantine archaeology, we now know that urban decline did not set in before the fifth century, after Anatolia had already be thoroughly Christianized in the course of the fourth century; we know now that urban decline, as it occurred from the fifth century onwards, was paired with rural prosperity, and an increase in the number, size, and quality of rural settlements and in rural population; that this ruralization was halted during the seventh to ninth centuries, when Anatolia was invaded first by the Persians, and then by the Arabs---and the population appears to have sought shelter behind new urban fortifications and in large cathedrals. Further, it elucidates that once the Arab threat had ended in the ninth century, this ruralization set in once more, and most cities seem to have been abandoned or reduced to villages during the ensuing time of seeming tranquility, whilst the countryside experienced renewed prosperity; that this trend was reversed yet again, when the Seljuk Turks appeared on the scene in the eleventh century, devastated the countryside and led to a revival and refortification of the former cities. This dynamic historical thread, traced across its extremes through the lens of Byzantine archaeology, speaks not only to the torrid narrative of Byzantine Anatolia, but to the enigmatic medievalization.
Drawing on archaeological and narrative sources, this collection of studies offers a fresh look at some of the most interesting aspects of the current research on the medieval nomads of Eastern Europe.
"This handbook offers a wide-ranging introduction to the richness and diversity of the arts in the Byzantine world. It includes thirty-eight essays by international authors, from prominent researchers to emerging scholars, on various issues and media. Discussions consider art created for religious purposes, to enhance and beautify the Orthodox liturgy and worship space, as well as art made to serve in royal and domestic contexts. While Byzantium is defined as the years 330-1453 CE, some chapters treat the aftermath and influence of Byzantine art on later periods. Arts covered include buildings and objects from the Eastern Mediterranean region, including the Balkans, Russia, North Africa, and the Near East. The volume brings together object-based considerations of themes and monuments which form the backbone of art history, with considerations drawing on many different methodologies-sociology, semiotics, anthropology, archaeology, reception theory, deconstruction theory, among others-all in an up-to-date synthesis of scholarship on Byzantine art and architecture. The Oxford Handbook of Byzantine Art and Architecture is a comprehensive overview of a rich field of study, offering a window into the world of this distinct and fascinating period of art"--
The Oxford Handbook of Byzantine Studies presents discussions by leading experts on all significant aspects of this diverse and fast-growing field. Byzantine Studies deals with the history and culture of the Byzantine Empire, the eastern half of the Late Roman Empire, from the fourth to the fourteenth century. Its centre was the city formerly known as Byzantium, refounded as Constantinople in 324 CE, the present-day Istanbul. Under its emperors, patriarchs, and all-pervasive bureaucracy Byzantium developed a distinctive society: Greek in language, Roman in legal system, and Christian in religion. Byzantium's impact in the European Middle Ages is hard to over-estimate, as a bulwark against invaders, as a meeting-point for trade from Asia and the Mediterranean, as a guardian of the classical literary and artistic heritage, and as a creator of its own magnificent artistic style.
Alice-Mary Talbot has profoundly influenced Byzantine Studies in America and Europe, focusing her scholarship upon the social context of Byzantine religious practices. As Director of Byzantine Studies at Dumbarton Oaks and as editor of Dumbarton Oaks Papers, she touched the professional lives of senior and junior Byzantinists alike. This collection of twenty-five articles from scholars associated with her at various stages in her career compasses such varied disciplines as art history, social history, literature, epigraphy, numismatics and sigillography; contributions are grouped in three related sections: “Women,” “Icons and Images,” and finally “Texts, Practices, Spaces.” Illustrated with both b/w and color images, the volume is at once a varied and a coherent tribute to this extraordinary scholar. Contributors are Alexander Alexakis, Simon Bendall, Annemarie Weyl Carr, John Duffy, Stephanos Efthymiadis, Elizabeth A. Fisher, Jaroslav Folda, Sharon E. J. Gerstel, Michael Grünbart, Susan Ashbrook Harvey, Angela Constantinides Hero, Michel Kaplan, Paul Magdalino, Henry Maguire, Maria Mavroudi, Stamatina McGrath, Cécile Morrisson, John Nesbitt, Arietta Papaconstantinou, Stratis Papaioannou, Manolis Patedakis, Brigitte Pitarakis, Claudia Rapp, Nancy Patterson Ševčenko, Brooke Shilling, Paul Stephenson and Denis Sullivan.
