The Journal of Ecclesiastical History, Apr 1, 1997
Cambridge Journals Online (CJO) is the e-publishing service for over 270 journals published by Ca... more Cambridge Journals Online (CJO) is the e-publishing service for over 270 journals published by Cambridge University Press and is entirely developed and hosted in-house. The platform's powerful capacity and reliable performance are maintained by a combination of our own expertise ...
... Spyridon [111] and an unidenti-fied saint [112] 41 Fragment of pre-1192 painting [141] remove... more ... Spyridon [111] and an unidenti-fied saint [112] 41 Fragment of pre-1192 painting [141] removed from below the Mother of God Arakiotissa [139] on the south wall below the dome Paintings of 1192 42 Dome, image of Christ [1] and the chevron pattern [3] 43 ... Samonas [66] 121 St ...
Page 1. Cyprus and the Devotional Arts of Byzantium in the Era of the Crusades Annemarie Weyl Car... more Page 1. Cyprus and the Devotional Arts of Byzantium in the Era of the Crusades Annemarie Weyl Carr, Southern Methodist University, USA Variorum Collected Studies Series: CS806 March 2005 244 x 169 mm 400 pages Hardback ...
In 1031/32 the monastery of New Minster in Winchester, England, commemorated benefactions from th... more In 1031/32 the monastery of New Minster in Winchester, England, commemorated benefactions from the reigning king, Cnut, and his spouse, Queen Emma, by creating a Liber Vitae for the altar of its church.1 The book’s text—a list of benefactors and the order for prayers on behalf of their salvation2—is prefaced by three full-page illuminations. The first shows Cnut and Emma making their gift by placing a large cross on New Minster’s altar (see figure 4.1); the following pair shows the afterlife, where the Devil garners the damned from his book of sins while the blessed—introduced to Peter by the Liber Vitae itself3—enjoy the rewards of their benefactions in Heaven. The theme of generosity rewarded is anticipated already in the opening scene, where—before the approving eyes of New Minster’s monks at the lower margin—the royal donation is acknowledged with divine recompense. Christ himself in a mandorla hovers over the cross, flanked on his right by his Mother and on his left by Peter, the two patron saints of New Minster. Below St. Peter, an angel lowers a crested crown onto Cnut’s head, and below Mary a similar angel lowers a veil onto Emma’s.
... motif but also in the style, whose rich colors, heavily highlighted drapery, exuberant archit... more ... motif but also in the style, whose rich colors, heavily highlighted drapery, exuberant architecture, and lavish play of ornamental borders and surfaces are paralleled in the work of the Armenian bookman Sargis Pidzak, active until 1354.44 The dynasties of Armenia and Cyprus ...
The Journal of Ecclesiastical History, Apr 1, 1997
Cambridge Journals Online (CJO) is the e-publishing service for over 270 journals published by Ca... more Cambridge Journals Online (CJO) is the e-publishing service for over 270 journals published by Cambridge University Press and is entirely developed and hosted in-house. The platform's powerful capacity and reliable performance are maintained by a combination of our own expertise ...
... Spyridon [111] and an unidenti-fied saint [112] 41 Fragment of pre-1192 painting [141] remove... more ... Spyridon [111] and an unidenti-fied saint [112] 41 Fragment of pre-1192 painting [141] removed from below the Mother of God Arakiotissa [139] on the south wall below the dome Paintings of 1192 42 Dome, image of Christ [1] and the chevron pattern [3] 43 ... Samonas [66] 121 St ...
Page 1. Cyprus and the Devotional Arts of Byzantium in the Era of the Crusades Annemarie Weyl Car... more Page 1. Cyprus and the Devotional Arts of Byzantium in the Era of the Crusades Annemarie Weyl Carr, Southern Methodist University, USA Variorum Collected Studies Series: CS806 March 2005 244 x 169 mm 400 pages Hardback ...
In 1031/32 the monastery of New Minster in Winchester, England, commemorated benefactions from th... more In 1031/32 the monastery of New Minster in Winchester, England, commemorated benefactions from the reigning king, Cnut, and his spouse, Queen Emma, by creating a Liber Vitae for the altar of its church.1 The book’s text—a list of benefactors and the order for prayers on behalf of their salvation2—is prefaced by three full-page illuminations. The first shows Cnut and Emma making their gift by placing a large cross on New Minster’s altar (see figure 4.1); the following pair shows the afterlife, where the Devil garners the damned from his book of sins while the blessed—introduced to Peter by the Liber Vitae itself3—enjoy the rewards of their benefactions in Heaven. The theme of generosity rewarded is anticipated already in the opening scene, where—before the approving eyes of New Minster’s monks at the lower margin—the royal donation is acknowledged with divine recompense. Christ himself in a mandorla hovers over the cross, flanked on his right by his Mother and on his left by Peter, the two patron saints of New Minster. Below St. Peter, an angel lowers a crested crown onto Cnut’s head, and below Mary a similar angel lowers a veil onto Emma’s.
... motif but also in the style, whose rich colors, heavily highlighted drapery, exuberant archit... more ... motif but also in the style, whose rich colors, heavily highlighted drapery, exuberant architecture, and lavish play of ornamental borders and surfaces are paralleled in the work of the Armenian bookman Sargis Pidzak, active until 1354.44 The dynasties of Armenia and Cyprus ...
ISBN: 9781108483056
Series: Sources for Byzantine Art History 3
In this book the beauty and m... more ISBN: 9781108483056
Series: Sources for Byzantine Art History 3
In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.
Byzantium in Change:
Art, Archaeology and Society in the 13th c.
Convenors: Jenny Albani (Hell... more Byzantium in Change: Art, Archaeology and Society in the 13th c.
Convenors: Jenny Albani (Hellenic Ministry of Culture and Hellenic Open University) Ioanna Christoforaki (Academy of Athens)
The year 1204, when Byzantium was conquered by the participants of the Fourth Crusade, marks a major and violent change on several levels, including politics and the economy, society and religion, as well as art and culture. The once powerful empire experienced both the humiliation of foreign occupation and its political subjugation. After its re-establishment in 1261, Byzantium had become a shrunken state, surrounded by aggressive enemies, while a number of its vital areas, such as Crete, Cyprus and the Ionian islands remained under foreign rule. These changes influenced not only the artistic output but the everyday life of the Byzantines as well. New ideas, new preferences and new techniques are attested in architecture, painting, sculpture and minor arts, all of which developed a new dynamic.
Although the changes which occurred during the thirteenth century, both in archaeology and society, have been examined in the past, a re-evalution of old and new data, combined with a fresh look on recent archaeological finds, is long overdue. The Thematic Session, entitled Byzantium in Change. Art, Archaeology and Society in the 13th c., aims to provide a well-rounded and balanced overview of this troubled century, by examining the transformations created and developed within the new framework of co-existence among Byzantines, Latins, Slavs and Ottomans. The main focus will be on architecture, painting and material culture, as attested in key political entities of the now fragmented Byzantine territory.
The participants in the Thematic Session, chosen to represent both established and younger scholars from Greece and abroad, are art and architectural historians, material culture experts and field archaeologists. They have been asked to explore issues relating to the artistic expression of the encounter between Byzantium and the West; the continuity, change or adaptation of artistic trends before and after 1204, both in urban centres and the countryside; and the archaeological testimonies for interaction, opposition or symbiosis, both on official and local levels.
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Papers by Annemarie Carr
Series: Sources for Byzantine Art History 3
In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.
Art, Archaeology and Society in the 13th c.
Convenors: Jenny Albani (Hellenic Ministry of Culture and Hellenic Open University)
Ioanna Christoforaki (Academy of Athens)
The year 1204, when Byzantium was conquered by the participants of the Fourth Crusade, marks a major and violent change on several levels, including politics and the economy, society and religion, as well as art and culture. The once powerful empire experienced both the humiliation of foreign occupation and its political subjugation. After its re-establishment in 1261, Byzantium had become a shrunken state, surrounded by aggressive enemies, while a number of its vital areas, such as Crete, Cyprus and the Ionian islands remained under foreign rule. These changes influenced not only the artistic output but the everyday life of the Byzantines as well. New ideas, new preferences and new techniques are attested in architecture, painting, sculpture and minor arts, all of which developed a new dynamic.
Although the changes which occurred during the thirteenth century, both in archaeology and society, have been examined in the past, a re-evalution of old and new data, combined with a fresh look on recent archaeological finds, is long overdue. The Thematic Session, entitled Byzantium in Change. Art, Archaeology and Society in the 13th c., aims to provide a well-rounded and balanced overview of this troubled century, by examining the transformations created and developed within the new framework of co-existence among Byzantines, Latins, Slavs and Ottomans. The main focus will be on architecture, painting and material culture, as attested in key political entities of the now fragmented Byzantine territory.
The participants in the Thematic Session, chosen to represent both established and younger scholars from Greece and abroad, are art and architectural historians, material culture experts and field archaeologists. They have been asked to explore issues relating to the artistic expression of the encounter between Byzantium and the West; the continuity, change or adaptation of artistic trends before and after 1204, both in urban centres and the countryside; and the archaeological testimonies for interaction, opposition or symbiosis, both on official and local levels.