Byzantine 12th Century Frescoes In Kastoria

This volume deals with relations between the West and Byzantium, from the accession of Otto I the Great in Germany in 962, until the Fourth Crusade when Constantinople was conquered by the Western crusading armies in 1204. The impact which these contacts and confrontations had on both sides is discussed in sections dealing with specific areas (such as the North, Britain, France, Germany, Italy and Spain) as well as in sections dealing with specific aspects of the process: the journey, the attractions of the East, and the idea of "autoritates" and "translationes" of various political and intellectual ideas. An extensive index will help readers to find specific topics. The book is illustrated with maps, and with a number of objects betraying Byzantine influence in the West, or Western presence in Byzantium.

Byzantine art has been an underappreciated field, often treated as an adjunct to the arts of the medieval West, if considered at all. In illustrating the richness and diversity of art in the Byzantine world, this handbook will help establish the subject as a distinct field worthy of serious inquiry. Essays consider Byzantine art as art made in the eastern Mediterranean world, including the Balkans, Russia, the Near East and north Africa, between the years 330 and 1453. Much of this art was made for religious purposes, created to enhance and beautify the Orthodox liturgy and worship space, as well as to serve in a royal or domestic context. Discussions in this volume will consider both aspects of this artistic creation, across a wide swath of geography and a long span of time. The volume marries older, object-based considerations of themes and monuments which form the backbone of art history, to considerations drawing on many different methodologies-sociology, semiotics, anthropology, archaeology, reception theory, deconstruction theory, and so on-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 particularly rich field of study, offering a window into the world of this fascinating and beautiful period of art.

In Byzantium there were two overlapping systems of dress: a semiotic one whereby dress was a code for rank and wealth, and a fashion system where dress was based on the desire to look a certain way. This book explains secular dress from the eighth to the twelfth centuries through an examination of painted representations.

Using epigrammatic poetry as a framework, investigates the interplay between art and religious devotion in the later Byzantine period.

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.

March 1998 saw Byzantinists gathering together at the University of Sussex in Brighton, for the annual symposium held by the Society for the Promotion of Byzantine Studies. Their aim was to consider the question of the 'Byzantine outsider'. Some categories of outsiders appear clear and simple: those marked out by class, race, sex, religion. But these categories are not universals. Today, historians of all periods are examining the ways in which we analyse the divisions in our societies, which can determine how we look at societies in the past. There is no consensus on who forms the 'outsider class' in modern society; it should come as no surprise that there was no consensus in Byzantium as to who the outsiders were, what they had done to deserve that status, and what the result of their attaining it should have been. The papers in this collection, drawn from the large number presented at the XXXII Spring Symposium, continue the debate about the idea of the 'Byzantine outsider'. The scholars within - theologians, historians, literary critics and art historians - present differing approaches to different aspects of the problem. The volume does not aim to have the 'last word', but rather to provoke debate and to open the field. Any examination of society that uses the concept of the outsider has implicitly within it a concept of the 'insider'. By looking at those on the margins it becomes easier to see who were - or at least thought they were - on the inside.

The Annunciation: a specific event recounted in the Bible and often represented in artworks, but also the prototype of many other announcements throughout the history of Western culture. This volume proposes new readings of pictorial Annunciations from the Middle Ages and the Early Modern period – treating aspects such as witnesses, inscriptions and architecture – as well as analyses of some visual echoes, reenactments of the announcement to Mary in sacred and profane contexts up to the twenty-first century. Among the latter are included Venetian decoration glorifying the state, a Jean-Luc Godard film, a video art piece by Eija-Liisa Ahtila, Lars von Trier’s Melancholia and a saint’s bedroom turned into a pilgrimage site.