Italian Paintings, 1250-1450, in the John G. Johnson Collection and the Philadelphia Museum of Art (original) (raw)
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Through the discussion of two practical "case studies'; the authors deal with a classical theme of iconographicaI studies, thatis the complex relationship between text and image. The two examples explain in particular how the"intention"of the artist or patron, and so the deeper meaning of the pictures, are not revealed by the exact correspondences between text and image, but emerge mainly from the recognition of the differences. Often this gap between text and image can be originated from the liturgy or can be explained by the links with ritual practices, in which the pictures are involved. Catholic prelates from Kotor were able to commission such artists who could paint the fresco programmes of town churches mostly based on models found in Byzantine art because such solutions offered them possibilities of forming their own programme based on the liturgy of the Catholic Church. In the case of the Olivuccio di Ceccarello's Dormitio, from Sirolo, the semi-liturgical rituality of the assault on the properties of the Jews, accepted by the Church, justifies the scars on the image of Jews and clarifies the reason of the selection of episodes made by the painter on the basis of the Legenda aurea, with the intention to highlight the negative role of the Jews, as opposed to the positive one played by the incredulous Apostle Thomas.
This text tries to draw a general view of the development of the Christian Orthodox art in the 16 th and 17 th centuries. The author represents in brief the main monuments and artists during the above period on the Balkans as well as the interactions between different cultures in historical context. Special interest is given to the art appeared on Mount Athos and the role of Patriarchate of Constantinople as a political and spiritual factor in the Ottoman empire and their influence in the Trans-Danubian principalities. Most of the existing bibliography on this subject is presented and analyzed. In his critical reading of the available publication E. Moutafov suggests for instance that it is more accurate to speak about Cretan painters on Mount Athos, rather than about the presence of a Cretan school in the artistic processes there. On the hand, when
in "Ikon", 7, 2014, pp. 167-180., 2014
Through the discussion of two practical “case studies”, the authors deal with a classical theme of iconographical studies, that is, the complex relationship between text and image. The two examples explain in particular how the “intention” of the artist or patron, and so the deeper meaning of the pictures, are not revealed by the exact correspondences between text and image, but emerge mainly from the recognition of the differences. Often this gap between text and image can be originated from the liturgy or can be explained by the links with ritual practices, in which the pictures are involved. Catholic prelates from Kotor were able to commission such artists who could paint the fresco programmes of town churches mostly based on models found in Byzantine art because such solutions offered them possibilities of forming their own programme based on the liturgy of the Catholic Church. In the case of the Olivuccio di Ceccarello’s Dormitio, from Sirolo, the semi-liturgical rituality of the assault on the properties of the Jews, accepted by the Church, justifies the scars on the image of Jews and clarifies the reason of the selection of episodes made by the painter on the basis of the Legenda aurea, with the intention to highlight the negative role of the Jews, as opposed to the positive one played by the incredulous Apostle Thomas.
IKON. Journal of Iconographic Studies, vol. 7, Rijeka, 2014, pp. 167-180.
Through the discussion of two practical “case studies”, the authors deal with a classical theme of the iconographical studies, that is the complex relationship between text and image. The two examples explain in particular how the “intention” of the artist or patron, and so the deeper meaning of the pictures, are not revealed by the exact correspondences between text and image, but emerge mainly from the recognition of the differences. Often this gap between text and image can be originated from the liturgy or can be explained by the links with ritual practices, in which the pictures are involved. Catholic prelates from Kotor were able to commission such artists who could paint the fresco programmes of town churches mostly based on models found in Byzantine art because such solutions offered them possibilities of forming their own programme based on the liturgy of the Catholic Church. In the case of the Olivuccio di Ceccarello’s Dormitio, from Sirolo, the semiliturgical rituality of the assault to the properties of the Jews, accepted by the Church, justifies the scars on the image of Jews and clarifies the reason of the selection of episodes made by the painter on the basis of the Legenda aurea, with the intention to highlighted the negative role of the Jews, as opposed to the positive one played by the incredulous apostle Thomas. Keywords: relationship: text – image – ritual, Dormitio Virginis, anti-Semitism, Jews in arts, pictura graeca, transubstantiation, elevation, eucharistic symbolism
Paintings Beyond the Boundaries of the Canon: Bulgarian Churches and Monasteries XVII – XIX Century
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Traditions in the decoration of Christian temples on the Bal-kans are largely related to strictly established rules, deriving from Byzantium and developed in the theological ranges in the empire. The holy fathers like John of Damascus and Theodore the Studite announced themselves in defense of veneration of the icons (overcoming the crisis of persecution), something more – their theological insights and logically consistent studies give the possibility to artists to express their feelings and conceptions but taking into consideration the ecclesiastical rules – canons. The article explores process of breaking the boundaries of canon set by Church Fathers as a result of unpreparedness, ignorance and total aesthetic decline after Ottoman invasion. It is appeared various levels of naive art and breaking of the canon established
THE EVOLUTION OF CHRISTIAN ICONOGRAPHY IN THE VI-VII CENTURIES
Icoana Credinței, 2024
The II-III centuries represented the period of the birth of Christian sacred art through Christians imitating the custom of pagans, from whose ranks most of them came, to decorate their graves, sarcophagi or mausoleums with images and even by borrowing some pagan symbols and themes, to which they obviously gave a new, Christian meaning, to which, of course, exclusively Christian themes were added, most often of biblical origin, most of them having a narrative-historical character. In the 4th-5th centuries, under the careful supervision of the Church, a synthesis was made regarding the themes addressed, by abandoning some, by taking over others from the imperial imaginary, prevalence acquiring a dogmatic character, from the desire to express and through the mediation of figurative art, not only through the poetic, transposed into songs, the truths of faith formulated at the first four ecumenical synods, but also in terms of styles. In this second stage of the history of Christian sacred art, especially in the 5th century, as a result of the synthesis achieved in the capital of the empire between the two great artistic currents that manifested themselves in painting, the Hellenistic-Alexandrian and the Syro-Palestinian, was formed the Constantinopolitan painting school and the stylistic features specific to this school crystallized. The present study aims to point out the main characteristics and developments of Christian sacred art in the Byzantine Empire starting from the time of Emperor Justinian I until the outbreak of Byzantine iconoclasm.