Byzantine Court Culture From 829 To 1204

The imperial court in Constantinople is central to the outsider's vision of Byzantium. However, in spite of its fame in literature and scholarship, there have been few attempts to analyze the court in its entirety as a phenomenon. These studies provide a unified composition by presenting Byzantine courtly life in all its interconnected facets.

Individual essays discuss Byzantine conceptions of paradise, the textual evidence for monastic horticulture, animal and game parks, herbs in medicinal pharmacy, and the famous illustrated copy of Dioskorides's herbal manual in Vienna. An opening chapter explores questions and observations from the point of view of a non-Byzantine garden historian, and the closing chapter suggests possible directions for future scholarship in the field.

Although King John is remembered for his political and military failures, he also resided over a magnificent court. Power and Pleasure reconstructs life at the court of King John and explores how his court produced both pleasure and soft power. Much work exists on courts of the late medieval and early modern periods, but the jump in record keeping under John allows a detailed reconstruction of court life for an earlier period. Power and Pleasure: Court Life under King John, 1199-1216 examines the many facets of John's court, exploring hunting, feasting, castles, landscapes, material luxury, chivalry, sexual coercion, and religious activities. It explains how John mishandled his use of soft power, just as he failed to exploit his financial and military advantages, and why he received so little political benefit from his magnificent court. John's court is viewed in comparison to other courts of the time, and in previous and subsequent centuries.

This book focuses on the conceptualization of the court, palace and ruler of the Umayyad Caliphate of al-Andalus. Western terminology still plays a normative role in the representation of foreign courts, determining concepts that fit poorly into chronologies with their own dynamics and specificities, which is the case of Muslim courts. While Court Studies is a well-developed field for modern Western societies, Muslim medieval courts lack a consistent field of research. Sources elaborate a specific terminology for medieval Muslim court societies. In the specific case of the Umayyad Caliphate of al-Andalus, the court is usually articulated as Bāb Suddat al-Khalīfa (“The door of the Sudda of the caliph”) – a reference to the symbology of the main city gate of Cordoba – or simply as Bāb. Bāb Suddat al-Khalīfa became the most emblematic concept to name the Umayyad palace and its society, which will be additionally interpreted in the framework of the performance of ceremonial. The strong conceptualization of the Umayyad court of Cordoba was highlighted through the articulation of ceremonial, as the mis-en-scène of the conceptualization, expressed by gestures, insignia and hierarchies. The preliminary comparative perspective with the Umayyad Caliphate of Damascus, the ‘Abbasid and Fatimid Caliphates and the Byzantine Empire further discusses the Umayyad Andalusi model in relation to other dynasties. While this book focuses on the Umayyad conceptualization and articulation of ceremonial, this model will be discussed within the Mediterranean and Eastern framework of the 10th and 11th centuries, which broadens the interest of the book to other fields of research.

Offers a new perspective on Byzantine imperial imagery, demonstrating the role foreign styles and iconography played in the visual articulation of imperial power.

Originally presented as the author's thesis (doctoral)--University of Illinois at Urbana-Champaign, 2002.

Saints and Spectacle examines the origins and reception of the Middle Byzantine program of mosaic decoration. This complex and colorful system of images covers the walls and vaults of churches with figures and compositions seen against a dazzling gold ground. The surviving eleventh-century churches with their wall and vault mosaics largely intact, Hosios Loukas, Nea Moni and Daphni in Greece, pose the challenge of how, when and where this complex and gloriously conceived system was created. Using an interdisciplinary approach, Connor explores the urban culture and context of church-building in Constantinople, capital of the Byzantine Empire, during the century following the end of Iconoclasm, of around 843 to 950. The application of an innovative frame of reference, through ritual studies, helps recreate the likely scenario in which the medium of mosaics attained its highest potential, in the mosaiced Byzantine church. For mosaics were enlisted to convey a religious and political message that was too nuanced to be expressed in any other way. At a time of revival of learning and the arts, and development of ceremonial practices, the Byzantine emperor and patriarch were united in creating a solution to the problem of consolidating the Greek Orthodox Byzantine Empire. It was through promoting a vision of the unchallengeable authority residing in God and his earthly representative, the emperor. The beliefs and processional practices affirming the protective role of the saints in which the entire city participated, were critical to the reception of this vision by the populace as well as the court. Mosaics were a luxury medium that was ideally situated aesthetically to convey a message at a particularly important historical moment--a brilliant solution to a problem that was to subtly unite an empire for centuries to come. Supported by a wealth of testimony from literary sources, Saints and Spectacle brings the Middle Byzantine church to life as the witness to a compelling and fascinating drama.

The imperial court in Constantinople has been central to the outsider's vision of Byzantium. However, in spite of its fame in literature and scholarship, there have been few attempts to analyze the Byzantine court in its entirety as a phenomenon. The studies in this volume aim to provide a unified composition by presenting Byzantine courtly life in all its interconnected facets. One important theme that unites these studies is the attention paid to describing the effects of a change in the social makeup of the court during this period and the reflection of these changes in art and architecture. These changes in social composition, mentality, and material culture of the court demonstrate that, as in so many other aspects of Byzantine civilization, the image of permanence and immutability projected by the forms of palace life was more apparent than real. As this new work shows, behind the golden facade of ceremony, rhetoric, and art, there was constant development and renewal.