Alexei Lidov | Moscow State University (original) (raw)
Papers by Alexei Lidov
L'icône dans la pensée et dans l'art, 2017
A new view of the icon has been developing in recent years, which differs significantly from our ... more A new view of the icon has been developing in recent years, which differs significantly from our customary approach. When talking about icons, we typically think of a flat schematic representation of a religious subject matter, depicted usually on a wooden board. This stereotype is deeply unsatisfactory, because in the Byzantine world icons were understood as spatial images functioning as mediators with the divine realm. An ideal icon was thus not a flat representation, but a spatial whole constructed according to a different set of rules. In this paper we shall try to elucidate some of these rules with the help of case studies. To begin with, we shall examine a spatial icon formed in the Kievan St. Sophia Cathedral by a mosaic image of Christ Pantocrator in the main dome, which has been shown to have a matching 'reflection' on the bottom of the chalice used in this cathedral. Then we shall see how the golden smalt used by Byzantine masters worked to create an aura of glistering light in the space surrounding the mosaic icon of the Virgin. Further on, I will argue that spacial aspects of iconicity can be understood through a notion of "chora", a mysterious platonic formative space-matter, notoriously difficult to comprehend in terms of Western rationalist thinking. Being a meeting ground of dialectical opposites, "chora" unites the ideal with the material, the abstract with the concrete, the holy with the mundane. We shall then turn to the icon of Divine Light in the Hagia Sophia church in Constantinople as an important example of such a spatial icon, defying positivist methodology. We shall also critically examine some misconceptions about icons, such as those related to the role of 'pattern-books' and the reverse perspective. Last but not least, a more general notion of 'iconicity' and its manifestations in various artistic forms within cultures with Byzantine roots shall be discussed.
Hierotopy. Spatial Icons and Image-Paradigms in Byzantine Culture. Moscow, “Theoria”, 2009, 361 p., 2009
Часть опубликованных в данной книге исследований были подготовлены при поддержке Российского Фонд... more Часть опубликованных в данной книге исследований были подготовлены при поддержке Российского Фонда Гуманитарных Исследований в рамках проекта «Пространственные иконы в Византии и Древней Руси» (научно исследовательский грант РГНФ № 08 04 00131а) А.М. Лидов Иеротопия. Пространственные иконы и образы парадигмы в визан тийской культуре.-М.: Дизайн. Информация. Картография, 2009.-с., ил. © © Иеротопия Создание сакральных пространств как вид творчества и предмет исторического исследования Пространственные иконы Чудотворное действо с Одигитрией Константинопольской Церковь Богоматери Фаросской Императорский храм реликварий как константинопольский Гроб Господень Мандилион и Керамион Иконический образ сакрального пространства Святой Лик-Святое Письмо-Святые Врата Образ парадигма «благословенного града» в христианской иеротопии Чудотворные иконы Софии Константинопольской Император как создатель сакрального пространства Катапетасма Софии Константинопольской Византийские инсталляции и образ парадигма храмовой Завесы Cвященство Богоматери Образ парадигма византийской иконографии Святой Огонь Иеротопические и искусствоведческие аспекты создания «Новых Иерусалимов» Образы парадигмы» как категория визуальной культуры Иеротопический подход к истории искусства 223 Оглавление Нагрудный реликва рий св. Дмитрия. Византия. Коллекция Дамбартон Оакс, Ва шингтон. XIII-XIV вв. / The pendant reliquary of St. Demetrios.
Studies in western art, 2009
participates in the creation of spatial imagery. Simultaneously, the image exists in objective re... more participates in the creation of spatial imagery. Simultaneously, the image exists in objective reality as a dynamic structure, adapting its elements according to an individual perception—some aspects of the spatial entity can be accentuated or temporarily downplayed. Creators of sacred spaces kept in their minds the factor of the prepared perception, connecting all intellectual and emotional threads of the image concept into a unifi ed whole. It is noteworthy that Byzantine ‘spatial icons’, most unusual in a modern European context, have a typological parallel in the contemporary art of performances and multimedia installations, which have nothing to do with the Byzantine tradition historically or symbolically.7 What they do share in common is the basic principle of absence of a single source of image, the imagery being created in space by numerous dynamically changing forms.8 In this situation, the role of the beholder acquires major signifi cance, as he actively participates in th...
participates in the creation of spatial imagery. Simultaneously, the image exists in objective re... more participates in the creation of spatial imagery. Simultaneously, the image exists in objective reality as a dynamic structure, adapting its elements according to an individual perception—some aspects of the spatial entity can be accentuated or temporarily downplayed. Creators of sacred spaces kept in their minds the factor of the prepared perception, connecting all intellectual and emotional threads of the image concept into a unifi ed whole. It is noteworthy that Byzantine ‘spatial icons’, most unusual in a modern European context, have a typological parallel in the contemporary art of performances and multimedia installations, which have nothing to do with the Byzantine tradition historically or symbolically.7 What they do share in common is the basic principle of absence of a single source of image, the imagery being created in space by numerous dynamically changing forms.8 In this situation, the role of the beholder acquires major signifi cance, as he actively participates in th...
Presentazione saggi di Fabrizio Crivello sulla presenza di artisti greci in ambito carolingio e o... more Presentazione saggi di Fabrizio Crivello sulla presenza di artisti greci in ambito carolingio e ottoniano e di Leonid A. Beljaev sugli architetti italiani nella Russia del XV e XVI secolo; allo stesso prof. Beljaev si deve un secondo intervento in cui viene 'decostruita' la figura del più celebre pittore russo del secolo XV, Andrej Rublev. Chiudono il volume le riflessioni di Jean-Michel Spieser e Robert Nelson, che, oltre a tracciare un bilancio degli interventi e a valutare l'impatto delle diverse interpretazioni, individuano nuovi terreni da sondare e ulteriori direzioni di ricerca. Michele Bacci Avvertenza Per non venir meno, nelle note a piè di pagina, a un criterio di uniformità relativamente alle citazioni bibliografiche e ai toponomi, si è scelto di mantenere nella lingua originale sia i nomi degli autori che i titoli e i luoghi di edizione. Nel caso delle citazioni in lingua greca, si è fatto ricorso al sistema di traslitterazione Greek Elot 743; per il russo si è invece fatto ricorso alla traslitterazione scientifica.
seventh century, the Holy Mandylion was the only image miraculously created by Christ himself, as... more seventh century, the Holy Mandylion was the only image miraculously created by Christ himself, as a kind of selfportrait “not made by human hands”1. The Letter to Abgar of Edessa was the only text written by Christ himself as a kind of a divine autograph2. This unique status determined the outstanding role played by the Holy Face and the Holy Script in the Christian culture. The stories of these two major relics were closely interwoven. Both have appeared in the same circumstances and were venerated for centuries in the city of Edessa. Both were transferred from Edessa to Constantinople and situated in the Pharos chapel – the imperial church-reliquary of the Great Palace in Constantinople. Both were perceived as apotropeia and magic objects, which sometimes were fused in a single whole. This specific phenomenon of a magic fusion of relics will be discussed in the present paper. I will argue that it influenced considerably Byzantine church iconography as well as the practice of icon-...
Miracle-working icons could be regarded among the heroes of the Orthodox church. As we may learn ... more Miracle-working icons could be regarded among the heroes of the Orthodox church. As we may learn from Byzantine miracle-stories, these icons were perceived as living beings, they could move, speak and even fight with pagans, unbelievers or sinners. The defence of the Orthodox faith was one of their major functions. It is hard to overestimate the meaning of miraculous images in Byzantine Empire. There are political, social, economical, psychological, liturgical, iconographical as well as purely artistic aspects of this general topic. We are just starting to study this phenomenon of great significance, which has been long neglected 1 . Among the most important issues is the role of miraculous images in sacred spaces of Byzantine churches. The written sources inform us that nearly every church had its own system of relics and miracle-working icons creating a kind of sacred network inside a particular church. Yet nothing survived in its original form. In some cases, however, we are able...
IKON, 2016
This paper deals with the notion of iconicity which changes the entire field of studies in iconic... more This paper deals with the notion of iconicity which changes the entire field of studies in iconic images. It concerns the reconsideration of icons as a spatial phenomenon which should be removed from the general category of religious pictures based on another matrix.
Erytheia Revista De Estudios Bizantinos Y Neogriegos, 2002
El programa simbolico de las llamadas Puestas Imperiales o Reales de Santa Sofia de Constantinopl... more El programa simbolico de las llamadas Puestas Imperiales o Reales de Santa Sofia de Constantinopla incluia -ademas del relieve de la Hetoimasia y el mosaico del timpano con la representacion de Cristo en su trono y Leon VI el Sabio (886-912) postrado a sus pies- tres reliquias fundamentales: las "Puertas del Arca de Noe" y, a los lados, los iconos taumaturgicos del "Salvador Confesor" y de "la Madre de Dios, que hablo con Maria Egipciaca". El programa era un conjunto unico centrado semanticamente en torno a la idea del arrepenlimiento como camino unico a la salvacion. Leon el Sabio parece el autor mas probable y el ano 907 la fecha mas verosimil de ejecucion. El articulo ofrece una hipotesis nueva sobre la peculiar iconografia del mosaico del timpano. Finalmente, aborda el papel predominante de los iconos taumaturgicos en la decoracion eclesiastica de Santa Sofia y su importancia unica en la evolucion de toda la iconografia bizantina.
Visual Constructs of Jerusalem, 2014
In this paper I address the phenomenon of the Holy Fire and the hierotopical and art historical a... more In this paper I address the phenomenon of the Holy Fire and the hierotopical and art historical aspects of this great miracle of the Christian world. According to the belief of the Eastern Orthodox Church, the Fire descends every Great Saturday of Easter upon the Holy Sepulchre in Jerusalem. It seems very significant that the Holy Fire was perceived as a kind of the most important relic, which could be preserved and transferred from Jerusalem to any other place. I will argue that there is a possibility to reconstruct the ritual, spatial and artistic environment, which came to being in conjunction with the Paschal miracle of the Holy Fire. Some particular rites are discussed: "Lo Scoppio del Carro" in Medieval Florence, ''les lanternes des morts" in France, Italy, Spain. As I have argued elsewhere, it was the cupola of the kouvouklion over the Holy Sepulchre that pre-destined the appearance of the onion-shaped domes A number of other sources, testifying to the influence of the Holy Fire are also discussed in the paper. All of them make it clear that the Miracle of the Holy Fire was a powerful, though nowadays underestimated, paradigm of the Christian visual culture, which exercised its influence on both iconographic devices and concepts of particular sacred spaces that played a crucial role in translations of New Jerusalems.
IKON, 2014
The author argues that the imagery of the Sacred Veil separating the Holy from the Holy of Holies... more The author argues that the imagery of the Sacred Veil separating the Holy from the Holy of Holies at the Jewish Temple in Jerusalem was a very powerful spatial icon which considerably influenced art and culture of the Byzantine world and the Latin West. The paper deals with new approaches to the history of art, and the crisis in traditional methodology which does not work in some cases. First of all, it concerns the concept of hierotopy (the creation of sacred spaces), recently proposed by the author of this paper and elaborated in several publications by the international group of scholars (www.hierotopy.ru). These studies have revealed an important theoretical issue. In many cases the discussion of visual culture can not be reduced to a positivist description of artifacts, or to the analysis of theological notions. Some phenomena can be properly interpreted only on the level of “image-paradigms”, which do not coincide with the illustrative pictures or ideological conceptions. This special notion seems a...
As a number of scholars recently realised, the most significant aspect of relics and miraculous i... more As a number of scholars recently realised, the most significant aspect of relics and miraculous icons was the role they played in the creation of particular sacred spaces. In many cases relics and venerated icons were established as a core, a kind of pivot in the forming of a concrete spatial environment. This milieu included permanently visible architectural forms and various pictures as well as changing liturgical clothes and vessels, lighting effects and fragrance, ritual gestures and prayers, which every time created a unique spatial complex. Sometimes the environment could form itself spontaneously, yet there are several examples when we are able to speak of deliberate concepts and elaborated projects, which should be considered among the most important historical documents. In our view, very few studies in this direction have appeared so far, because an adequate notion covering this field of creativity has been lacking. The widespread term 'sacred space' did not functi...
Часть опубликованных в данной книге исследований были подготовлены при поддержке Российского Фонд... more Часть опубликованных в данной книге исследований были подготовлены при поддержке Российского Фонда Гуманитарных Исследований в рамках проекта «Пространственные иконы в Византии и Древней Руси» (научно исследовательский грант РГНФ № 08 04 00131а) А.М. Лидов Иеротопия. Пространственные иконы и образы парадигмы в визан тийской культуре.-М.: Дизайн. Информация. Картография, 2009.-с., ил. © © Иеротопия Создание сакральных пространств как вид творчества и предмет исторического исследования Пространственные иконы Чудотворное действо с Одигитрией Константинопольской Церковь Богоматери Фаросской Императорский храм реликварий как константинопольский Гроб Господень Мандилион и Керамион Иконический образ сакрального пространства Святой Лик-Святое Письмо-Святые Врата Образ парадигма «благословенного града» в христианской иеротопии Чудотворные иконы Софии Константинопольской Император как создатель сакрального пространства Катапетасма Софии Константинопольской Византийские инсталляции и образ парадигма храмовой Завесы Cвященство Богоматери Образ парадигма византийской иконографии Святой Огонь Иеротопические и искусствоведческие аспекты создания «Новых Иерусалимов» Образы парадигмы» как категория визуальной культуры Иеротопический подход к истории искусства 223 Оглавление Нагрудный реликва рий св. Дмитрия. Византия. Коллекция Дамбартон Оакс, Ва шингтон. XIII-XIV вв. / The pendant reliquary of St. Demetrios.
L'icône dans la pensée et dans l'art, 2017
A new view of the icon has been developing in recent years, which differs significantly from our ... more A new view of the icon has been developing in recent years, which differs significantly from our customary approach. When talking about icons, we typically think of a flat schematic representation of a religious subject matter, depicted usually on a wooden board. This stereotype is deeply unsatisfactory, because in the Byzantine world icons were understood as spatial images functioning as mediators with the divine realm. An ideal icon was thus not a flat representation, but a spatial whole constructed according to a different set of rules. In this paper we shall try to elucidate some of these rules with the help of case studies. To begin with, we shall examine a spatial icon formed in the Kievan St. Sophia Cathedral by a mosaic image of Christ Pantocrator in the main dome, which has been shown to have a matching 'reflection' on the bottom of the chalice used in this cathedral. Then we shall see how the golden smalt used by Byzantine masters worked to create an aura of glistering light in the space surrounding the mosaic icon of the Virgin. Further on, I will argue that spacial aspects of iconicity can be understood through a notion of "chora", a mysterious platonic formative space-matter, notoriously difficult to comprehend in terms of Western rationalist thinking. Being a meeting ground of dialectical opposites, "chora" unites the ideal with the material, the abstract with the concrete, the holy with the mundane. We shall then turn to the icon of Divine Light in the Hagia Sophia church in Constantinople as an important example of such a spatial icon, defying positivist methodology. We shall also critically examine some misconceptions about icons, such as those related to the role of 'pattern-books' and the reverse perspective. Last but not least, a more general notion of 'iconicity' and its manifestations in various artistic forms within cultures with Byzantine roots shall be discussed.
Hierotopy. Spatial Icons and Image-Paradigms in Byzantine Culture. Moscow, “Theoria”, 2009, 361 p., 2009
Часть опубликованных в данной книге исследований были подготовлены при поддержке Российского Фонд... more Часть опубликованных в данной книге исследований были подготовлены при поддержке Российского Фонда Гуманитарных Исследований в рамках проекта «Пространственные иконы в Византии и Древней Руси» (научно исследовательский грант РГНФ № 08 04 00131а) А.М. Лидов Иеротопия. Пространственные иконы и образы парадигмы в визан тийской культуре.-М.: Дизайн. Информация. Картография, 2009.-с., ил. © © Иеротопия Создание сакральных пространств как вид творчества и предмет исторического исследования Пространственные иконы Чудотворное действо с Одигитрией Константинопольской Церковь Богоматери Фаросской Императорский храм реликварий как константинопольский Гроб Господень Мандилион и Керамион Иконический образ сакрального пространства Святой Лик-Святое Письмо-Святые Врата Образ парадигма «благословенного града» в христианской иеротопии Чудотворные иконы Софии Константинопольской Император как создатель сакрального пространства Катапетасма Софии Константинопольской Византийские инсталляции и образ парадигма храмовой Завесы Cвященство Богоматери Образ парадигма византийской иконографии Святой Огонь Иеротопические и искусствоведческие аспекты создания «Новых Иерусалимов» Образы парадигмы» как категория визуальной культуры Иеротопический подход к истории искусства 223 Оглавление Нагрудный реликва рий св. Дмитрия. Византия. Коллекция Дамбартон Оакс, Ва шингтон. XIII-XIV вв. / The pendant reliquary of St. Demetrios.
Studies in western art, 2009
participates in the creation of spatial imagery. Simultaneously, the image exists in objective re... more participates in the creation of spatial imagery. Simultaneously, the image exists in objective reality as a dynamic structure, adapting its elements according to an individual perception—some aspects of the spatial entity can be accentuated or temporarily downplayed. Creators of sacred spaces kept in their minds the factor of the prepared perception, connecting all intellectual and emotional threads of the image concept into a unifi ed whole. It is noteworthy that Byzantine ‘spatial icons’, most unusual in a modern European context, have a typological parallel in the contemporary art of performances and multimedia installations, which have nothing to do with the Byzantine tradition historically or symbolically.7 What they do share in common is the basic principle of absence of a single source of image, the imagery being created in space by numerous dynamically changing forms.8 In this situation, the role of the beholder acquires major signifi cance, as he actively participates in th...
participates in the creation of spatial imagery. Simultaneously, the image exists in objective re... more participates in the creation of spatial imagery. Simultaneously, the image exists in objective reality as a dynamic structure, adapting its elements according to an individual perception—some aspects of the spatial entity can be accentuated or temporarily downplayed. Creators of sacred spaces kept in their minds the factor of the prepared perception, connecting all intellectual and emotional threads of the image concept into a unifi ed whole. It is noteworthy that Byzantine ‘spatial icons’, most unusual in a modern European context, have a typological parallel in the contemporary art of performances and multimedia installations, which have nothing to do with the Byzantine tradition historically or symbolically.7 What they do share in common is the basic principle of absence of a single source of image, the imagery being created in space by numerous dynamically changing forms.8 In this situation, the role of the beholder acquires major signifi cance, as he actively participates in th...
Presentazione saggi di Fabrizio Crivello sulla presenza di artisti greci in ambito carolingio e o... more Presentazione saggi di Fabrizio Crivello sulla presenza di artisti greci in ambito carolingio e ottoniano e di Leonid A. Beljaev sugli architetti italiani nella Russia del XV e XVI secolo; allo stesso prof. Beljaev si deve un secondo intervento in cui viene 'decostruita' la figura del più celebre pittore russo del secolo XV, Andrej Rublev. Chiudono il volume le riflessioni di Jean-Michel Spieser e Robert Nelson, che, oltre a tracciare un bilancio degli interventi e a valutare l'impatto delle diverse interpretazioni, individuano nuovi terreni da sondare e ulteriori direzioni di ricerca. Michele Bacci Avvertenza Per non venir meno, nelle note a piè di pagina, a un criterio di uniformità relativamente alle citazioni bibliografiche e ai toponomi, si è scelto di mantenere nella lingua originale sia i nomi degli autori che i titoli e i luoghi di edizione. Nel caso delle citazioni in lingua greca, si è fatto ricorso al sistema di traslitterazione Greek Elot 743; per il russo si è invece fatto ricorso alla traslitterazione scientifica.
seventh century, the Holy Mandylion was the only image miraculously created by Christ himself, as... more seventh century, the Holy Mandylion was the only image miraculously created by Christ himself, as a kind of selfportrait “not made by human hands”1. The Letter to Abgar of Edessa was the only text written by Christ himself as a kind of a divine autograph2. This unique status determined the outstanding role played by the Holy Face and the Holy Script in the Christian culture. The stories of these two major relics were closely interwoven. Both have appeared in the same circumstances and were venerated for centuries in the city of Edessa. Both were transferred from Edessa to Constantinople and situated in the Pharos chapel – the imperial church-reliquary of the Great Palace in Constantinople. Both were perceived as apotropeia and magic objects, which sometimes were fused in a single whole. This specific phenomenon of a magic fusion of relics will be discussed in the present paper. I will argue that it influenced considerably Byzantine church iconography as well as the practice of icon-...
Miracle-working icons could be regarded among the heroes of the Orthodox church. As we may learn ... more Miracle-working icons could be regarded among the heroes of the Orthodox church. As we may learn from Byzantine miracle-stories, these icons were perceived as living beings, they could move, speak and even fight with pagans, unbelievers or sinners. The defence of the Orthodox faith was one of their major functions. It is hard to overestimate the meaning of miraculous images in Byzantine Empire. There are political, social, economical, psychological, liturgical, iconographical as well as purely artistic aspects of this general topic. We are just starting to study this phenomenon of great significance, which has been long neglected 1 . Among the most important issues is the role of miraculous images in sacred spaces of Byzantine churches. The written sources inform us that nearly every church had its own system of relics and miracle-working icons creating a kind of sacred network inside a particular church. Yet nothing survived in its original form. In some cases, however, we are able...
IKON, 2016
This paper deals with the notion of iconicity which changes the entire field of studies in iconic... more This paper deals with the notion of iconicity which changes the entire field of studies in iconic images. It concerns the reconsideration of icons as a spatial phenomenon which should be removed from the general category of religious pictures based on another matrix.
Erytheia Revista De Estudios Bizantinos Y Neogriegos, 2002
El programa simbolico de las llamadas Puestas Imperiales o Reales de Santa Sofia de Constantinopl... more El programa simbolico de las llamadas Puestas Imperiales o Reales de Santa Sofia de Constantinopla incluia -ademas del relieve de la Hetoimasia y el mosaico del timpano con la representacion de Cristo en su trono y Leon VI el Sabio (886-912) postrado a sus pies- tres reliquias fundamentales: las "Puertas del Arca de Noe" y, a los lados, los iconos taumaturgicos del "Salvador Confesor" y de "la Madre de Dios, que hablo con Maria Egipciaca". El programa era un conjunto unico centrado semanticamente en torno a la idea del arrepenlimiento como camino unico a la salvacion. Leon el Sabio parece el autor mas probable y el ano 907 la fecha mas verosimil de ejecucion. El articulo ofrece una hipotesis nueva sobre la peculiar iconografia del mosaico del timpano. Finalmente, aborda el papel predominante de los iconos taumaturgicos en la decoracion eclesiastica de Santa Sofia y su importancia unica en la evolucion de toda la iconografia bizantina.
Visual Constructs of Jerusalem, 2014
In this paper I address the phenomenon of the Holy Fire and the hierotopical and art historical a... more In this paper I address the phenomenon of the Holy Fire and the hierotopical and art historical aspects of this great miracle of the Christian world. According to the belief of the Eastern Orthodox Church, the Fire descends every Great Saturday of Easter upon the Holy Sepulchre in Jerusalem. It seems very significant that the Holy Fire was perceived as a kind of the most important relic, which could be preserved and transferred from Jerusalem to any other place. I will argue that there is a possibility to reconstruct the ritual, spatial and artistic environment, which came to being in conjunction with the Paschal miracle of the Holy Fire. Some particular rites are discussed: "Lo Scoppio del Carro" in Medieval Florence, ''les lanternes des morts" in France, Italy, Spain. As I have argued elsewhere, it was the cupola of the kouvouklion over the Holy Sepulchre that pre-destined the appearance of the onion-shaped domes A number of other sources, testifying to the influence of the Holy Fire are also discussed in the paper. All of them make it clear that the Miracle of the Holy Fire was a powerful, though nowadays underestimated, paradigm of the Christian visual culture, which exercised its influence on both iconographic devices and concepts of particular sacred spaces that played a crucial role in translations of New Jerusalems.
IKON, 2014
The author argues that the imagery of the Sacred Veil separating the Holy from the Holy of Holies... more The author argues that the imagery of the Sacred Veil separating the Holy from the Holy of Holies at the Jewish Temple in Jerusalem was a very powerful spatial icon which considerably influenced art and culture of the Byzantine world and the Latin West. The paper deals with new approaches to the history of art, and the crisis in traditional methodology which does not work in some cases. First of all, it concerns the concept of hierotopy (the creation of sacred spaces), recently proposed by the author of this paper and elaborated in several publications by the international group of scholars (www.hierotopy.ru). These studies have revealed an important theoretical issue. In many cases the discussion of visual culture can not be reduced to a positivist description of artifacts, or to the analysis of theological notions. Some phenomena can be properly interpreted only on the level of “image-paradigms”, which do not coincide with the illustrative pictures or ideological conceptions. This special notion seems a...
As a number of scholars recently realised, the most significant aspect of relics and miraculous i... more As a number of scholars recently realised, the most significant aspect of relics and miraculous icons was the role they played in the creation of particular sacred spaces. In many cases relics and venerated icons were established as a core, a kind of pivot in the forming of a concrete spatial environment. This milieu included permanently visible architectural forms and various pictures as well as changing liturgical clothes and vessels, lighting effects and fragrance, ritual gestures and prayers, which every time created a unique spatial complex. Sometimes the environment could form itself spontaneously, yet there are several examples when we are able to speak of deliberate concepts and elaborated projects, which should be considered among the most important historical documents. In our view, very few studies in this direction have appeared so far, because an adequate notion covering this field of creativity has been lacking. The widespread term 'sacred space' did not functi...
Часть опубликованных в данной книге исследований были подготовлены при поддержке Российского Фонд... more Часть опубликованных в данной книге исследований были подготовлены при поддержке Российского Фонда Гуманитарных Исследований в рамках проекта «Пространственные иконы в Византии и Древней Руси» (научно исследовательский грант РГНФ № 08 04 00131а) А.М. Лидов Иеротопия. Пространственные иконы и образы парадигмы в визан тийской культуре.-М.: Дизайн. Информация. Картография, 2009.-с., ил. © © Иеротопия Создание сакральных пространств как вид творчества и предмет исторического исследования Пространственные иконы Чудотворное действо с Одигитрией Константинопольской Церковь Богоматери Фаросской Императорский храм реликварий как константинопольский Гроб Господень Мандилион и Керамион Иконический образ сакрального пространства Святой Лик-Святое Письмо-Святые Врата Образ парадигма «благословенного града» в христианской иеротопии Чудотворные иконы Софии Константинопольской Император как создатель сакрального пространства Катапетасма Софии Константинопольской Византийские инсталляции и образ парадигма храмовой Завесы Cвященство Богоматери Образ парадигма византийской иконографии Святой Огонь Иеротопические и искусствоведческие аспекты создания «Новых Иерусалимов» Образы парадигмы» как категория визуальной культуры Иеротопический подход к истории искусства 223 Оглавление Нагрудный реликва рий св. Дмитрия. Византия. Коллекция Дамбартон Оакс, Ва шингтон. XIII-XIV вв. / The pendant reliquary of St. Demetrios.
Алексей Лидов. Опыт творческой биографии //Пространство иконы.Иконография и иеротопия, к 60-летию А. М. Лидова, М.: Феория, 2019, с. 7-21 , 2019
Развернутая творческая биография и полная библиография Лидова. Lidov's detailed biography (in Rus... more Развернутая творческая биография и полная библиография Лидова.
Lidov's detailed biography (in Russian) and his complete bibliography
Let me turn to specifics now, addressing the most powerful Byzantine examplethe view of the 'Grea... more Let me turn to specifics now, addressing the most powerful Byzantine examplethe view of the 'Great Church' of the Empirethe cathedral of Hagia Sophia in Constantinople dating back to 6 th century A.D. Even in its current state of preservation, when we are able to see only the material shell of the building, it is clear that we are not only dealing with a masterpiece of the world architecture or a mystical place of divine presence, but with a particular project of spatial imagery, which was created by concrete people in concrete historical circumstances. The project included immovable architectural forms and sacred images, as well as changing of liturgical vessels and ritual gestures, dramaturgy of lighting and olfactory effects (various incenses), resounding words and recollections of miraclestories -all woven together into one single whole. This specific creativity consisting in formation of spatial imagery has been called hierotopy.
А. М. Лидов. Иеротопия. Пространственные иконы и образы парадигмы в византийской культуре / М.: Дизайн. Информация. Картография, 2009
Книга посвящена истории и теории создания сакральных пространств в культуре и искусстве Византии.... more Книга посвящена истории и теории создания сакральных пространств в культуре и искусстве Византии. Продолжая и развивая цикл работ автора, посвященных символике и иконографии византийского храма, она формулирует и использует новый теоретический подход к анализу удожественной культуры. В основе лежат три взаимосвязанных понятия вынесенных в заглавие книги. Согласно концепции «иеротопии», создание сакральных пространств рассматривается как особая сфера творчества и самостоятельная область исторических исследований. В книге реконструируются конкретные проекты «пространственных икон» и выявляются характерные «образы-парадигмы». Тем самым предлагается новый взгляд на целый пласт явлений художественной культуры, ранее не попадавших в предметный мир истории искусства. Эта книга явилась первым систематическим изложением иеротопии.
The book deals with the creation of sacred spaces in Byzantium, Medieval Russia and the Eastern Christian world. It is based on ten studies of last seven years in which three new notions — Hierotopy, Spatial Icons and Image-Paradigms, renovating the methodology of art history, have been suggested and discussed by the author. The term Hierotopy stands for the entire framework, intending to fix a special stratum of historical phenomena. Hierotopic approach means that the making of sacred spaces is viewed as a special form of creativity. The term 'Spatial Icon', was conceived to describe iconic imagery existing in space beyond flat pictures or any combination of art objects. The Image-Paradigm is an instrumentum studiorum to analyze this specific category of images.
Air and Heavens in the Hierotopy and Iconography of the Christian World. Materials of the International Symposium / Еd. by Alexei Lidov. Moscow, Theoria, 2019. — 168 р., 2019
This book contains a collection of abstracts of the international symposium held in Moscow, Sep 1... more This book contains a collection of abstracts of the international symposium held in Moscow, Sep 11-13, 2019. The symposium tackles the subject of Air and Heavens and the role of this phenomenon in the making of sacred spaces, mostly in the medieval tradition with a special focus on the Byzantine world. The project and symposium are the next step in a continuing research program dedicated to the making of sacred spaces as a distinct form of artistic and spiritual creativity called ‘hierotopy’. Recently, a new sub-series has appeared, dedicated to the elements of the universe: Hierotopy of Light and Fire in Byzantium and Medieval Russia (Moscow 2013); The Holy Water in the Hierotopy and Iconography of the Christian World (Moscow 2017); The Hierotopy of Holy Mountains in Christian Culture ( Moscow 2019). The present project about Air finishes this series dedicated to four elements.
Симпозиум впервые в мировой науке посвящен «Воздуху и Небесам» как важнейшей теме христианской иеротопии и иконографии, преимущественно в византийско-древнерусской традиции. Внимание участников сосредоточено на сакрально-символических аспектах темы и на методологии историко-художественных исследований. Симпозиум является продолжением многолетней инновационной научной программы, посвященной иеротопии — изучению создания сакральных пространств как особого вида духовного и художественного творчества. С 2011 г. в рамках большой программы реализуется исследовательский проект иеротопии важнейших элементов мира — Огня, Воды, Земли и Воздуха. Пока вышли три монументальных сборника статей: «Иеротопия огня и света в культуре византийского мира» (М., 2013), «Святая Вода в иеротопии и иконографии христианского мира» (М., 2017) и «Иеротопия Святой горы в христианской культуре» (М., 2019). Симпозиум о «Небесах», рассматривающий тему Воздуха, является естественным завершением трех предшествующих проектов.
Holy Water in the Hierotopy and Iconography of the Christian World // ed. A. Lidov, Moscow: "Theoria", 2017, 2017
This book is a unique collection of research papers covering the subject of water as a means of c... more This book is a unique collection of research papers covering the subject of water as a means of creating sacred spaces. The contents of the books is based on the materials of the Symposium on Holy Water (Moscow, 2014). The interdisciplinary research presented in the book was performed within the framework of hierotopic methodology, i.e. the creation of sacred spaces was studied as a form of creative activity. The book contains 34 papers of scholars from different countries published in English and Russian (two language versions for each paper).
Святая вода в иеротопии и иконографии христианского мира / ред.-сост. А. М. Лидов, М.: "Феория", 2017, 2017
Сборник, впервые в мировой науке, посвящен воде как средству создания сакральных пространств, пр... more Сборник, впервые в мировой науке, посвящен воде как средству создания сакральных пространств, преимущественно в византийско-древнерусской традиции, рассматриваемой в широком историко-географическом контексте. Основное внимание сосредоточено на сакральном-символических аспектах использования воды и на методологии историко-культурных исследований. Концепция книги связана с новой областью гуманитарного знания, получившей название ИЕРОТОПИЯ (наука о создании сакральных пространств). Сборник включает 34 статьи ведущих отечественных и зарубежных специалистов. Все статьи представлены на двух языках: русском и английском.
Эта книга посвящена росписям монастыря Ахтала — самому значительному памятнику средневековой мон... more Эта книга посвящена росписям монастыря Ахтала — самому значительному памятнику средневековой
монументальной живописи на территории Армении. Росписи отличает хорошая сохранность, уникаль-ная иконография и высокое художественное качество, ставящее их в ряд лучших произведений визан-тийского и в целом всего восточнохристианского искусства.
Комплексное монографическое исследование состоит из трех глав. Первая посвящена истории со-здания и датировке росписей монастыря Плиндзаханк (Ахтала), который являлся главным духовным
и художественным центром армян-халкедонитов, исповедовавших «греко-грузинское» православие. На
основе всех сохранившихся источников восстанавливается история монастыря, специальный раздел по-священ ктитору монастыря, обосновывается датировка росписей 1205–1216 годами. Во второй части кни-ги подробно исследуется иконографическая программа, отличающаяся редкими особенностями, восхо-дящими как к византийской, так и к грузинской традиции. В третьей главе выявляются манеры восьми
мастеров, которые своим происхождением связаны с Арменией, Византией и Грузией.
Памятник рассматривается в контексте особой культуры армян-халкедонитов, которая расцвела на
территориях Северной Армении в начале XIII века, соединила три христианские традиции и обуслови-ла многие уникальные черты росписей. Книга адресована всем интересующимся историей византий-ского, армянского и грузинского искусства, а также проблематикой средневековой культуры в целом.
L'immagine di Cristo dall'Acheropita alla mano d'artista (Studi e testi, 432), 2007
Dal tardo medioevo all'età barocca. A cura di Christoph L. Frommel e Gerhard Wolf
The program of the International Symposium organized by the Russian Academy of Arts. The symposiu... more The program of the International Symposium organized by the Russian Academy of Arts. The symposium tackles the subject of Air and Heavens and the role of this phenomenon in the making of sacred spaces, mostly in the medieval tradition with a special focus on the Byzantine world. The project and symposium are the next step in a continuing research program dedicated to the making of sacred spaces as a distinct form of artistic and spiritual creativity called ‘hierotopy’. Recently, a new sub-series has appeared, dedicated to the elements
of the universe: Hierotopy of Light and Fire in Byzantium and Medieval Russia (Moscow 2013); The Holy Water in the Hierotopy and Iconography of the Christian World (Moscow 2017); The Hierotopy of Holy Mountains in Christian Culture ( Moscow 2019). The present project about Air finishes this series dedicated to four elements.
Air and Heavens in the Hierotopy and Iconography of the Christian World. The program of the symposium, 2019
This symposium tackled the subject of Air and Heavens and the role of this phenomenon in the maki... more This symposium tackled the subject of Air and Heavens and the role of
this phenomenon in the making of sacred spaces, mostly in the medieval tradition with a special focus on the Byzantine world. The project and symposium are the next step in a continuing research program dedicated to the making of sacred spaces as a distinct form of artistic and spiritual creativity called ‘hierotopy’. Recently, a new sub-series has appeared, dedicated to the elements of the universe: Hierotopy of Light and Fire in Byzantium and Medieval Russia (Moscow 2013); The Holy Water in the Hierotopy and Iconography of the Christian World (Moscow 2017); The Hierotopy of Holy Mountains in Christian Culture ( Moscow 2019). The present project about Air finishes this series dedicated to four elements.
Симпозиум впервые в мировой науке посвящен «Воздуху и Небесам» как важнейшей теме христианской иеротопии и иконографии, преимущественно в византийско-древнерусской традиции. Внимание участников сосредоточено на сакрально-символических аспектах темы и на методологии историко-художественных исследований. Симпозиум является продолжением многолетней инновационной научной программы, посвященной иеротопии — изучению создания сакральных пространств как особого вида духовного и художественного творчества. С 2011 г. в рамках большой программы реализуется исследовательский проект иеротопии важнейших элементов мира — Огня, Воды, Земли и Воздуха. Пока вышли три монументальных сборника статей: «Иеротопия огня и света в культуре изантийского мира» (М., 2013), «Святая Вода в иеротопии и иконографии ристианского мира» (М., 2017) и «Иеротопия Святой горы в христианской культуре» (М., 2019). Симпозиум о «Небесах», рассматривающий тему Воздуха, является естественным завершением трех предшествующих проектов.
A. Lidov, N. Isar, R. Demchuk, B. Leal, S. Olianina, O. Osadcha, A. Simsky. Hierotopy between Art History and Religious Studies. Abstracts of EASR-2017 conference, Hierotopy section, 2017
This is a compendium of abstracts submitted for the annual conference of the European Association... more This is a compendium of abstracts submitted for the annual conference of the European Association for the Study or Religion, EASR-2017, Leuven, Belgium, September 2017.
Hierotopy is the creation of sacred spaces viewed as a special form of human creativity and also a related area of research where specific examples of such creativity are studied. This concept was first formulated some fifteen years ago by Alexei Lidov in the context of Byzantine studies and has grown into a fully developed academic field spanning the disciplines of art history, study of religion and cultural anthropology. Hierotopy accounts for the variety of ways in which versatile media work together to form and organise a sacred space as a unified whole and to communicate its spiritual message.
Authors: A. Lidov, N. Isar, R. Demchuk, B. Leal, S. Olianina, O. Osadcha, A. Simsky
L. Evseeva, A. Lidov. The Russian Mandylion: The Images of Christ ‘Not-Made-by-Hands’ in the Art and Culture of Medieval Rus’ from the Tenth to the Fourteenth Centuries. In: Recent Studies on the Image of Edessa: Iconography, History and Theology (ed. by Mark Guscin), 2022
The Holy Face was one of the central topics in Russian icon-making. Contrary to Byzantine art, wh... more The Holy Face was one of the central topics in Russian icon-making. Contrary to Byzantine art, where images of the Mandylion on icons were quite rare, they were very widespread in Rus’, including images on cloth and encolpyon crosses. This paper provides a comprehensive review of preserved Holy Face imagery for the period in question.
