Art And Identity In Thirteenth Century Byzantium

The church of Hagia Sophia in Trebizond, built by the emperor Manuel I Grand Komnenos (1238-63) in the aftermath of the fall of Constantinople to the Fourth Crusade, is the finest surviving Byzantine imperial monument of its period. Art and Identity in Thirteenth-Century Byzantium is the first investigation of the church in more than thirty years, and is extensively illustrated in colour and black-and-white, with many images that have never previously been published. Antony Eastmond examines the architectural, sculptural and painted decorations of the church, placing them in the context of contemporary developments elsewhere in the Byzantine world, in Seljuq Anatolia and among the Caucasian neighbours of Trebizond. Knowledge of this area has been transformed in the last twenty years, following the collapse of the Soviet Union. The new evidence that has emerged enables a radically different interpretation of the church to be reached, and raises questions of cultural interchange on the borders of the Christian and Muslim worlds of eastern Anatolia, the Caucasus and Persia. This study uses the church and its decoration to examine questions of Byzantine identity and imperial ideology in the thirteenth century. This is central to any understanding of the period, as the fall of Constantinople in 1204 divided the Byzantine empire and forced the successor states in Nicaea, Epiros and Trebizond to redefine their concepts of empire in exile. Art is here exploited as significant historical evidence for the nature of imperial power in a contested empire. It is suggested that imperial identity was determined as much by craftsmen and expectations of imperial power as by the emperor's decree; and that this was a credible alternative Byzantine identity to that developed in the empire of Nicaea.

For more than a millennium, from its creation in 330 CE until its fall in 1453, the Byzantine Empire was a cradle of artistic effervescence that is only beginning to be rediscovered. Endowed with the rich heritage of Roman, Eastern, and Christian cultures, Byzantine artists developed an architectural and pictorial tradition, marked by symbolism, whose influence extended far beyond the borders of the Empire. Today, Italy, North Africa, and the Near East preserve the vestiges of this sophisticated artistic tradition, with all of its mystical and luminous beauty. The magnificence of the palaces, churches, paintings, enamels, ceramics, and mosaics from this civilisation guarantees Byzantine art's powerful influence and timelessness.

Serves as both visual and textual record of the exhibition of the same name, surveying the art of the Middle Byzantine period from the restoration of the use of icons by the Orthodox Church in 843 to the occupation of Constantinople by the Crusader forces from the West from 1204 to 1261. Conceived as a sequel to the 1976 exhibition "Age of Spirituality," which focused on the first centuries of Byzantium. Preceding the catalogue, 17 essays treat the historical context, religious sphere, and secular courtly realm of the empire, and the interactions between Byzantium and other medieval cultures. Abundantly illustrated. Annotation copyrighted by Book News, Inc., Portland, OR

The central theme of the articles reproduced in these two volumes is the role of the visual arts and architecture in the cultural interaction between medieval societies, Christian and Muslim, in the eastern Mediterranean. Visual forms of production and communication amongst Christian communities themselves, and between Christian and Muslim, are discussed within their specific social and political contexts. Placing the emphasis on areas which passed between Christian and Muslim raises questions of the formation of identities as well as the relationship of the periphery to the centre. Focusing on the areas of Egypt, Syria and Palestine in relation to Byzantium, Islam, and the West provides a framework for consideration of particular issues, especially the identity of particular communities. The core of the work considers the period between the twelfth and fourteenth centuries, when these areas were at the centre of eastern Mediterranean politics, and seeks to interpret little known evidence in the light of political and cultural circumstances with an interdisciplinary approach as its starting noint. Vol. I features papers on the legacy of Byzantine art, and the medieval Christian art of Egypt. Vol. II covers the Christian art of Medieval Syria, and the art of the Crusader states.

The compelling story of a thirteenth-century Christian noblewoman ransomed to the family of Saladin, made a ruler by the Mongols, and with extraordinary connections across continents and cultures from the Mediterranean to Mongolia. This book will be important for students and scholars of Byzantine, Crusader and Islamic history, art and architecture.

Anatolia was home to a large number of polities in the medieval period. Given its location at the geographical and chronological juncture between Byzantines and the Ottomans, its story tends to be read through the Seljuk experience. This obscures the multiple experiences and spaces of Anatolia under the Byzantine empire, Turko-Muslim dynasties contemporary to the Seljuks, the Mongol Ilkhanids, and the various beyliks of eastern and western Anatolia. This book looks beyond political structures and towards a reconsideration of the interactions between the rural and the urban; an analysis of the relationships between architecture, culture and power; and an examination of the region's multiple geographies. In order to expand historiographical perspectives it draws on a wide variety of sources (architectural, artistic, documentary and literary), including texts composed in several languages (Arabic, Armenian, Byzantine Greek, Persian and Turkish). Original in its coverage of this period from the perspective of multiple polities, religions and languages, this volume is also the first to truly embrace the cultural complexity that was inherent in the reality of daily life in medieval Anatolia and surrounding regions.

This volume presents the results of the Leiden project on the identity formation of the Syrian Orthodox Christians, which developed from a religious association into an ethnic community. A number of specialists react to the findings and discuss the cases of the East Syrians, Armenians, Copts, and Ethiopians.