The Visual Culture Of Later Byzantium C1081 C1350
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| Author | : Foteini Spingou |
| Publisher | : Cambridge University Press |
| Total Pages | : 1683 |
| Release | : 2022-04-21 |
| Genre | : History |
| ISBN | : 1108643906 |
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.
| Author | : Foteini Spingou |
| Publisher | : |
| Total Pages | : |
| Release | : 2021 |
| Genre | : Art and society |
| ISBN | : 9781108831932 |
"The period encompassed by this volume of translations opens with a major crisis over the status of the icon and its veneration. Charles Barber and David Jenkins (I.1.1 in this volume) present three extensive texts related to this crisis, which began when Leo of Chalcedon objected to the imperial appropriation of materials bearing sacred images, such as the doors of the Chalkoprateia church in Constantinople. As his arguments against this act unfolded in the period from 1082- to 1095, Leo developed a theory of the image that argued for a formal, as opposed to a material, presence of Christ in his icons. Given this presence of Christ's character, Leo argued that an icon should not be destroyed and that this portrayal deserved adoration. A full account of this argument is presented in Leo's letter to his nephew Nicholas of Adrianoupolis. This letter, which perhaps dates to 1093 or 1094, shows how Leo builds his case upon a reading of the ninth-century iconophile writings of Theodore of Stoudios and other authorities, which Leo reads as offering support for a hypostatic presence in the image mediated by the visible character of the subject. A key response to Leo of Chalcedon's arguments is offered by Eustratios of Nicaea. His Syllogistic Demonstration builds upon the logical model of ninth-century iconophile thought to show that the icon only has a formal relation to the subject depicted in that object. It is a response that is notable for its precise accounts of the limits of depiction, which becomes the description of the outline, form, and dimension of the outward and sensible traits of the appearance of a person. This allows him to argue that the material and sensible icon cannot receive adoration: Christ as God is adored; Christ as God cannot be depicted; therefore, the depicted, as depicted, is not adored. So that in no way can we speak of the adoration of a manufactured icon, or of adoration in an icon"--
| Author | : Foteini Spingou |
| Publisher | : |
| Total Pages | : |
| Release | : 2021 |
| Genre | : Art and society |
| ISBN | : 9781108483056 |
"The period encompassed by this volume of translations opens with a major crisis over the status of the icon and its veneration. Charles Barber and David Jenkins (I.1.1 in this volume) present three extensive texts related to this crisis, which began when Leo of Chalcedon objected to the imperial appropriation of materials bearing sacred images, such as the doors of the Chalkoprateia church in Constantinople. As his arguments against this act unfolded in the period from 1082- to 1095, Leo developed a theory of the image that argued for a formal, as opposed to a material, presence of Christ in his icons. Given this presence of Christ's character, Leo argued that an icon should not be destroyed and that this portrayal deserved adoration. A full account of this argument is presented in Leo's letter to his nephew Nicholas of Adrianoupolis. This letter, which perhaps dates to 1093 or 1094, shows how Leo builds his case upon a reading of the ninth-century iconophile writings of Theodore of Stoudios and other authorities, which Leo reads as offering support for a hypostatic presence in the image mediated by the visible character of the subject. A key response to Leo of Chalcedon's arguments is offered by Eustratios of Nicaea. His Syllogistic Demonstration builds upon the logical model of ninth-century iconophile thought to show that the icon only has a formal relation to the subject depicted in that object. It is a response that is notable for its precise accounts of the limits of depiction, which becomes the description of the outline, form, and dimension of the outward and sensible traits of the appearance of a person. This allows him to argue that the material and sensible icon cannot receive adoration: Christ as God is adored; Christ as God cannot be depicted; therefore, the depicted, as depicted, is not adored. So that in no way can we speak of the adoration of a manufactured icon, or of adoration in an icon"--
| Author | : Foteini Spingou |
| Publisher | : |
| Total Pages | : |
| Release | : 2021 |
| Genre | : Art and society |
| ISBN | : 9781108831949 |
"The period encompassed by this volume of translations opens with a major crisis over the status of the icon and its veneration. Charles Barber and David Jenkins (I.1.1 in this volume) present three extensive texts related to this crisis, which began when Leo of Chalcedon objected to the imperial appropriation of materials bearing sacred images, such as the doors of the Chalkoprateia church in Constantinople. As his arguments against this act unfolded in the period from 1082- to 1095, Leo developed a theory of the image that argued for a formal, as opposed to a material, presence of Christ in his icons. Given this presence of Christ's character, Leo argued that an icon should not be destroyed and that this portrayal deserved adoration. A full account of this argument is presented in Leo's letter to his nephew Nicholas of Adrianoupolis. This letter, which perhaps dates to 1093 or 1094, shows how Leo builds his case upon a reading of the ninth-century iconophile writings of Theodore of Stoudios and other authorities, which Leo reads as offering support for a hypostatic presence in the image mediated by the visible character of the subject. A key response to Leo of Chalcedon's arguments is offered by Eustratios of Nicaea. His Syllogistic Demonstration builds upon the logical model of ninth-century iconophile thought to show that the icon only has a formal relation to the subject depicted in that object. It is a response that is notable for its precise accounts of the limits of depiction, which becomes the description of the outline, form, and dimension of the outward and sensible traits of the appearance of a person. This allows him to argue that the material and sensible icon cannot receive adoration: Christ as God is adored; Christ as God cannot be depicted; therefore, the depicted, as depicted, is not adored. So that in no way can we speak of the adoration of a manufactured icon, or of adoration in an icon"--
| Author | : Foteini Spingou |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2021 |
| Genre | : Art and society |
| ISBN | : |
| Author | : Florence Aadland |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2018 |
| Genre | : Motion picture actors and actresses |
| ISBN | : 9781943679065 |
Literary Nonfiction. California Interest. Women's Studies. Film. Memoir. THE BIG LOVE is a Hollywood nightmare. It tells the story of Errol Flynn--a fading, alcoholic movie star--and the underage dancer-actress Beverly Aadland. The narrator? Beverly Aadland's fame-worshiping mother Mrs. Florence Aadland, who spurs the relationship on. There is nothing subtle or sympathetic about this memoir: It is outrageous, grotesque, surreal, notorious--an intimate look at Hollywood exploitation and decay. On the one hand, THE BIG LOVE depicts the deterioration of Errol Flynn, an actor who is quickly losing relevance after years of playing irresistible swashbucklers in films such as Captain Blood (1935) and The Adventures of Robin Hood (1938). He is riddled with medical problems, drinking himself to death. On the other hand, there is Mrs. Florence Aadland, also an alcoholic, an uncultured stage mother psychotically pushing her daughter Beverly forward even at the cost of her own marriage. A bizarre, seedy time capsule of the 1950s, THE BIG LOVE is the long-lost literary sister of Barbara Payton's I AM NOT ASHAMED. And, after languishing out of print for years, it is ready to shock brand new audiences with its absurd humor, villainous characters, and sickly dissipation.
| Author | : |
| Publisher | : BRILL |
| Total Pages | : 320 |
| Release | : 2020-08-03 |
| Genre | : History |
| ISBN | : 9004421378 |
Byzantium in Eastern European Visual Culture in the Late Middle Ages focuses on how the heritage of Byzantium was continued and transformed alongside local developments in the artistic and cultural traditions of Eastern Europe between the fourteenth and sixteenth centuries.
| Author | : Fabio Guidetti |
| Publisher | : Oxbow Books |
| Total Pages | : 641 |
| Release | : 2020-07-31 |
| Genre | : Social Science |
| ISBN | : 1789254477 |
Late Antique artefacts, and the images they carry, attest to a highly connected visual culture from ca. 300 to 800 C.E. On the one hand, the same decorative motifs and iconographies are found across various genres of visual and material culture, irrespective of social and economic differences among their users – for instance in mosaics, architectural decoration, and luxury arts (silver plate, textiles, ivories), as well as in everyday objects such as tableware, lamps, and pilgrim vessels. On the other hand, they are also spread in geographically distant regions, mingled with local elements, far beyond the traditional borders of the classical world. At the same time, foreign motifs, especially of Germanic and Sasanian origin, are attested in Roman territories. This volume aims at investigating the reasons behind this seemingly globalised visual culture spread across the Late Antique world, both within the borders of the (former) Roman and (later) Byzantine Empire and beyond, bringing together diverse approaches characteristic of different national and disciplinary traditions. The presentation of a wide range of relevant case studies chosen from different geographical and cultural contexts exemplifies the vast scale of the phenomenon and demonstrates the benefit of addressing such a complex historical question with a combination of different theoretical approaches.
| Author | : Anna Cecilia Olovsdotter |
| Publisher | : Walter de Gruyter GmbH & Co KG |
| Total Pages | : 363 |
| Release | : 2018-12-17 |
| Genre | : History |
| ISBN | : 3110546507 |
It has long been an accepted assumption that the abstracted mode of visual representation that emerged in late antiquity reflected a collective shift from the outer-directed and ’material’ world-view of classical antiquity to an inner-directed, ’spiritual’ mentality informed by Christianity: the purpose of this volume is to offer a more nuanced and diverse image of the nature and meanings of abstraction and symbolism in late antique and early medieval art, beyond normative intepretation models, and from a number of different methodological and interpretative perspectives. In ten chapters, ten authors specialised in various fields of late-antique and Byzantine art explore the historiographical background of the ’spiritual’ interpretation paradigm, neuroscientific and theological dimensions of Christian visual aesthetics, meanings and motive factors behind apparently wholly abstract and aniconic compositions, symbolic motifs and schemes for visualising cosmic order and the cosmic state of Christ, and the re-use of symbolic Greco-Roman themes in Christian contexts. The result is a multi-focal image of late antique abstraction and symbolism that illuminates the heterogeneity and complexity of the phenomena and of their study.
| Author | : Cecily J. Hilsdale |
| Publisher | : Cambridge University Press |
| Total Pages | : 425 |
| Release | : 2014-02-20 |
| Genre | : Art |
| ISBN | : 1107033306 |
Questions how political decline refigures the visual culture of empire by examining the imperial image and the gift in later Byzantium (1261-1453). Provides a more nuanced account of medieval artistic cultural exchange that considers the temporal dimensions of power and the changing fates of empires.
