Far Eastern calligraphy has always been regarded by the Occident as an “esoteric” issue, laden with a peculiar “mysticism,” which presents spiritual and philosophical aspects too outlandish to truly comprehend. That is probably the reason why calligraphy was amongst the last artistic “disciplines” to gain access to the international world of the arts. This study focuses on Japanese calligraphy as a visual and verbal image, conducting a hermeneutic investigation into the nature and function of this type of image, into the (...) value and significance of this way of representing the sacred in accordance with Japanese spirituality. Undertaking an unusual exploration, this research draws together the symbolism of calligraphic art and that of Byzantine icons, looking for similarities and differences between them, seeing them as intuitive gateways to the mysteries of the universe, to revelations of an ontologically superior nature. (shrink)

Man is a "homo theologicus." The dominion of the cyberculture is determining the oblivion of the Sacred in a new fashion, creating fictional transcendences that replace traditional reality with cyberconstructions. We aim to show how man is essentially a theologal being and how the Byzantine notion of ϑέωσις (deification) as expressed in sacred arts can be a way of preserving human essence from its alienation in the fictional transcendences of cyberbeing. We approach cyberculture as a process of ontological desubstantiation (...) via artificial "intelligence" and virtual reproductions. We explain the dual phenomenon of the implanting of a decentered, networked techno-hedonism and the spread of the "avatar syndrome" as a cyber-disease that inhibits in man his responsibility to be real. By contrast, we underscore the importance of the fact that in cyberbeing the "enchantment before beings" as anticipation of radical freedom is especially safeguarded. While the modern aesthetic is mostly deprived of mystic origin and transcendental telos and proves useless against cyberbeing's desubstantiating power, Byzantine aesthetic as an ontological healing way can contribute to the de-oblivion of human essence. This implies that sacred Byzantine arts as aesthetic therapy open the horizon in which man experiences his essence as perpetual bliss in the meaning of Being. (shrink)

Art historians have long viewed southern Italy, especially the Salento region in Apulia, as a Byzantine artistic province even centuries after Byzantine rule ended there in c. 1070. The Orthodox monastery of Santa Maria di Cerrate, near Lecce, is widely considered to possess some of the region’s “most Byzantine” paintings (twelfth to fourteenth centuries). Yet a close examination of these frescoes reveals significant iconographic and stylistic differences from alleged Byzantine norms. A historiographic synopsis and review of (...) problematic definitions of “Byzantine” art are followed in this article by a critique of reductionist labels. Embracing the concept of vagueness offers an alternative way to think about Cerrate and similar borderline cases—not in terms of fixed categories (“Byzantine” or “Western”), but as points on an art-historical continuum that is enriched by acknowledging complexity. (shrink)

The study deals with ekphraseis on works of art and poses the question as to how far these texts can be a reliable source for the study or even the reconstruction of the artefacts they describe. Based on reception theory and readerresponse criticism, in the paper is proposed that as every text, byzantine ekphraseis on artworks presuppose an audience or readership, i. e. the one the author had in mind and on the basis of which he encoded his message. (...) In order to decode this message and by extension to extract any information about the described works of art we must aim to discover their “intended reader”, and identify his or her “horizon of expectations. This proposal is tested in the study of a well known piece of this kind, Manasses’s description of a mosaic floor with a depiction of Earth. The author’s dialogue with the earlier tradition of ekphraseis, his readership’s “horizon of expectations” combined with historical facts, allow us to suppose that Manasses is describing a composition with Xenia scenes and an asarotos motif created in the early byzantine period and preserved in the Great Palace of Constantinople up to the twelfth century. (shrink)

This book represents a series of incursions or philosophical forays between realms of Byzantine and Russian thought and territory long claimed by Western philosophy and theology. Beginning with thoughts inevitably rooted in the West, it seeks to penetrate as deeply as possible into Byzantine and Russian philosophical and spiritual landscapes, and to return with fresh insights. These are also incursions that move back and forth between the visible and the invisible realms, in the traditions of Plato and his (...) successors as well as the great monastics of Eastern Christianity. Foltz argues from various perspectives that the problematic relation between transcendence and immanence finds its answer in the philosophical and theological legacy of Eastern Christian thought, which has always sought to bring together strands tenaciously held separate in the West. This book transports contemporary readers to an ancient conceptual landscape as it expertly handles both Western and Byzantine ideas with a familiarity unusual to contemporary scholars. It is essential reading for all those wishing to engage the heart of Byzantine thought and employ its lessons to address the problems which plague Western philosophy and culture. (shrink)

Michael Psellos has long been known as a key figure in the history of Byzantine literary and intellectual culture, but his theoretical and critical reflections on literature and art are little known outside of a small circle of specialists. Most famous for his Chronographia, a history of eleventh-century Byzantine emperors and their reigns, Psellos also excelled in describing as well as prescribing practices and rules for literary discourse and visual culture. The ambition of Michael Psellos on Literature and (...) Art is to illustrate an important chapter in the history of Greek literary and art criticism and introduce precisely this aspect of Psellian writing to a wider public. The editors of this volume present thirty Psellian texts, all of which have been translated - some in part, most in their entirety - into English. In the majority of cases, the works are translated for the first time in any modern language, and several are discussed at length here for the first time. They are grouped into two separate sections, which roughly translate to two areas of theoretical reflection associated with the modern terms 'literature' and 'art.'0. (shrink)

Die Erhaltung und Ausstellung von historischen Kunstwerken geht viele Risiken in Bezug auf die Darstellung des Lebens und der Bedeutungen von Objekten ein. Dieser Beitrag untersucht die Identitäten einiger besonders fesselnder Beispiele byzantinischer Kunst, die in der Menil Collection in Houston, Texas unter besonderen Umständen restauriert wurden. Eine Untersuchung der Wiederherstellung der Fresken und Ikonen sowie ihrer jeweiligen Ausstellungsgeschichten offenbart die Kontingenzen unserer Begegnungen mit und Erklärungen von historischer Kunst. Conservation and exhibition of historical works of art run many risks (...) of misrepresentation of the life and meanings of objects. This paper explores the identities of some particularly compelling examples of Byzantine art restored under special circumstances at the Menil Collection in Houston, Texas. This examination of the restoration of frescos and icons, and their particular display histories, reveals the contingencies of our encounters with and explanations of historical art. (shrink)

Conservation and exhibition of historical works of art run many risks of misrepresentation of the life and meanings of objects. This paper explores the identities of some particularly compelling examples of Byzantine art restored under special circumstances at the Menil Collection in Houston, Texas. This examination of the restoration of frescos and icons, and their particular display histories, reveals the contingencies of our encounters with and explanations of historical art.

A well illustrated study of Byzantine art, which analyses the elements of architecture and painting in terms of the aesthetic categories, "sublime" and "beautiful." The final section of the book argues that though these two categories are distinct, they are also interdependent because their source is the same, viz., "the aesthetic joy which includes every potential aesthetic emotion".--A. R.

ABSTRACT Modern elephant tusk is compared with Byzantine plaques as regards the surface microstructure by means of macrophotography. We are thus able to illustrate the differences between elephant bone and elephant tusk, whereas many exhibitions and publications wrongly refer to ivory as elephant bone. It is not uncommon in Greek and German literature to confuse elephant bone with elephant tusk. Bone is porous and white, whereas ivory is yellowish and compact with characteristic dentine structural lines. The structural lines of (...) dentine in plates made of organic mineralized tissues are diagnostic features of ivory that conclusively differentiate it from elephant bone. Dentine is also more compact than bone. Unlike bone, which is inexpensive and common, ivory is expensive and rare in keeping with the stature, wealth and power of Byzantine Emperors. (shrink)

Compositions representing the Heavenly Liturgy - the liturgy that is presided over by Christ in heaven, of which the earthly liturgy is a reflection - first appear around the beginning of the fourteenth century in the decoration of Byzantine domes. Most scholars argue that such scenes depict an ancient concept, almost as old as liturgical exegesis itself. I contend that this view is based on a flawed reading of liturgical commentaries, of the biblical texts from which the commentaries draw (...) inspiration, and of the Divine Liturgy itself. I argue that the scene of the Heavenly Liturgy represents both an exegetical stream independent of texts and an understanding of the eucharistic liturgy during the fourteenth and fifteenth centuries that existed in visual form in tandem with traditional textual interpretations of the rite. The scene, devised by painters and their patrons, therefore constitutes a concurrent exegetical tradition that both derived from the commentaries and deviated from them. (shrink)

Der Pilot und Priester, Assumptionist und Byzantinist Christopher Walter hat einen neuen unschätzbaren Beitrag zur byzantinischen Geschichte geliefert. Als Schüler von André Grabar und Kollege von Vitalien Laurent verwaltet er die reiche Wissenschaftstradition der Assumptionisten und Bollandisten. Sein grosses Wissen über Theologie, Kirchengeschichte, Patristik und Kunstwissenschaft vermittelt er in einer angenehmen fliessenden Sprache. In dieser Arbeit webt er einen kunstfertigen Gobelin und verbindet die christliche Frühgeschichte mit dem vom antiken Heroenkult übertragenen Märtyrerkult in einem tiefgreifenden Versuch, die Historizität der Kriegerheiligen (...) zu fixieren. Er bringt den kultischen Aspekt der Armee in einer Darstellung zum Leben, die sich oft zu einem spannenden Detektivroman entwickelt. Endlich können wir den beliebtesten Kriegerheiligen in einen festeren Griff bekommen, den Archistrategos, den Erzengel Michael, mit den himmlischen Heerscharen zu seiner Verfügung, zur Verteidigung der ecclesia militans und des irdischen Imperiums neben anderen Kriegerheiligen, die die Standarten der Tagmaeinheiten schmückten. (shrink)

Die alphabetische Reihung der Autorennamen erweckt ein irreführendes Bild der einzelnen Kontributionen, zumal da ja auch kein Vorwort erscheint. Die wissenschaftliche Leitung und Letztverantwortung für den Band lag weiterhin bei N. Oikonomides, der nicht nur das Manuskript abschloss, sondern auch noch die Stellungnahmen der Begutachter auswerten konnte, Fahnen aber leider nicht mehr erleben durfte. Den größten Zeitaufwand investierte sicherlich J. Nesbitt, der ja für dieses Projekt in Dumbarton Oaks angestellt ist. E. McGeer dagegen ist zwar ein sigillographischer Hoffnungsträger in Amerika, (...) sein Beitrag zu diesem Band war aber noch eher bescheiden. (shrink)

Dem umfassenden Führer zu den mittelalterlichen Denkmälern der griechischen Inseln wird zunächst eine Karte sowie eine kurze historische Einführung vorangestellt. Es schließt sich der Hauptteil an, der die einzelnen Inseln in alphabetischer Reihenfolge abhandelt. Dabei wird für jede Insel eine kleine schematische Karte beigefügt. Ein Glossar, eine Liste der byzantinischen Dynastien, der lateinischen und byzantinischen Kaiser in Konstantinopel, der Dogen und Grafen sowie Herren der veschiedenen Inseln runden zusammen mit einigen ausgewählten Literaturhinweisen den Führer ab. Dieser läßt sich über einen (...) Personen-Index über die topographische Ordnung hinaus auch von diesem Aspekt her gut erschließen. (shrink)

The conversion of the Nubian Kingdoms, by the missions sent from Constantinople in the sixth century, was followed by Byzantine influence on Nubian art. One of the most obvious examples of this process was representing archangels dressed in loroi. This paper aims to present the evolution of loroi in Nubian art. In Byzantium, they were ceremonial stoles worn on special occasions by the emperors or the highest dignitaries. The archangels were also clad in loroi, acting as high officials at (...) the celestial court. Interestingly, loroi were adopted only for the images of archangels in Nubia, not for the images of Nubian kings. At the end of the 10th century, the lower end of the loroi was expanded to a broader segment resembling the Byzantine thorakion, typical of female images. This could have added splendor to their garments, but could it have also highlighted the vague gender of the archangels? (shrink)

Glimpses into Byzantium. Its Philosophy and Arts -/- This volume contains peer-reviewed articles published by the author either in hard-copy or in electronic format between 2019 and 2021. These focus on various aspects of Byzantine and Medieval culture. -/- It is not possible to upload an entire book here, but there are copies of it in libraries and it can also be bought from Amazon.

The main novelty my article brings concerns a particular iconographic motif: that known as the ‘trial by the water of reproach’. In the few cases where this is rendered, usually only Mary is presented as undergoing this test, but in Cappadocian art Joseph is also subjected to it. Additionally, to this visual topic, another one that is rarely depicted will be introduced and commented upon: that known as ‘Christ’s first bath’. I will provide a particular example: the fresco which constitutes (...) part of the decoration that embellishes the walls of Karabaş Kilise/ ‘The Big Church’ in Soğanlı Valley, southern Cappadocia. A few images – one of them never published before – have been included within this publication. (shrink)

For several years now, sigillography as an independent subarea in the field of Byzantine studies has received increasing attention from both Byzantine studies and related disciplines, as it is the only area still able to provide academia with large amounts of material not previously analysed. The articles of Studies in Byzantine Sigillography deal with all aspects of Byzantine sigillography: presentation of new finds, discussion of new methods, questions of the political and ecclesiastical administration of Byzantium, prosopography, (...) historical geography, and art-historical and iconographical problems. (shrink)