Results found: 2

Search results

Search:
in the keywords: BYZANTINE ART

Sort By:

Limit search:

LEGACY OF BYZANTIUM (Dziedzictwo Bizancjum)

100%

Smorag-Rozycka M.

Białostockie Teki Historyczne

2008

vol. 6

31-51

We are witnesses to an exceptional interest in the art of East Christianity and, in particular, in the icon. In none earlier period of the European culture has painting caused such vivid and common emotions, perceived by some as the utmost embodiment of Christian mysticism, and by others as a negatively evaluated symbol of fossilized traditionalism opposed to vivifying novelty of modern art. It is accompanied by an equally extraordinary 'career' of the very term icon, not only in the scientific but also in the medial and colloquial language, with a simultaneous obliteration of the original sense of the Greek word 'eikon', meaning picture, image, in Latin - imago. Still more and more common is also the inclusion of the research on the icon painting in the scope of theology or history of the Church, perceiving the icon in categories of either laic anthropology or Orthodox bigotry, i.e., beyond the historical order of artistic transformations. Meanwhile, the separation of the two main currents of the European art, originating in the common Greek-Latin source, took place as late as the beginning of the XV century. The West started reflecting nature, whereas Byzantium continued reflecting transcendental reality, permeating Greek-Latin patterns with Christian Neo-Platonist content with the leading concept of gradualistic order of the world and God's emanation. The overcoming of the iconoclastic crisis (726-843) reinforced this Hellenic and mystic character of the Byzantine painting and the development of narrative cycles devoted to the Virgin Mary and Jesus Christ, clearly reflects the anthropocentric character of Byzantine art, subordinated to the Christ centric doctrine of Christianity. Gradual latinization (occidentalization ?) of the Orthodox Church art after the decline of Constantinople (1453), especially on the cultural frontiers, as e.g.: on the border of Polish and Ruthenian lands, should not be perceived in political-confessional categories, as it is the mark of a natural osmosis and, infrequently, result from individual social aspirations of people aiming at enhancing their prestige by means of endowments following the best, as they believed, alternating artistic patterns - Renaissance-Mannerist, Baroque and classicistic. Works of art created according to this trend are marked with the particular stylistic and iconographic local colour, which cannot be evaluated according to the nineteenth century criteria of esthetic canons or the conception of 'stylistic purity', but should rather be seen in a wider context of cultural transformations.

THEOTOKOS IN POREC. PUBLIC, OFFICIAL AND PRIVATE IN THE SIXTH-CENTURY DEVOTION TO MARY

75%

Vicelja-Matijašiċ M.

ARS

2013

vol. 46

issue 1

3 -15

The mosaics in the central apse of the episcopal church of Eufrasius in Porec, built in the sixth century, present an inexhaustible source for research of iconography of the visual arts in time of Justinian. Given the fact that a large part of the corpus of early Byzantine art was not preserved, especially the one in Constantinople, mosaics in Porec are the key to understanding the role of visual arts in reference to theology, contemporary philosophical disputes, aesthetic canons and role of visual display as a communication means.

Refine search results

1 ARS

1 Białostockie Teki Historyczne

1 2013

1 2008

1 Smorag-Rozycka M.

1 Vicelja-Matijašiċ M.

Search results

LEGACY OF BYZANTIUM (Dziedzictwo Bizancjum)

THEOTOKOS IN POREC. PUBLIC, OFFICIAL AND PRIVATE IN THE SIXTH-CENTURY DEVOTION TO MARY