Byzantine Mosaics Research Papers - Academia.edu (original) (raw)

New work over the last thirty years on the archaeology of Syria-Palestine in the later sixth and seventh centuries has significantly questioned the once-accepted view of an economy in decline, seen in part as a contributory factor to the supposed “easy” conquest of the region. Coinage, ceramics, and settlement profiles depict, rather, an economic resilience that successfully weathered the political and military disruptions of the seventh century. The relative soundness of the economy at the end of the seventh century gave crucial support to ʿAbd al-Malik during the succession dispute with Ibn Zubayr, and following its resolution ʿAbd al-Malik’s reforms were to ensure decades of continuing economic prosperity in Syria-Palestine. In the eighth century, a standardized coinage ensured monetary confidence, townbased industries were built up on a major scale to supply regional markets, while improvements to the infrastructure of agriculture—rather than the introduction of new crops—and the exploration of natural resources promoted settlement in the countryside. Over two centuries, the economy had changed, bringing significant shifts in urban and rural settlement patterns, but had not, to any significant extent, failed.

- by Mabi Angar
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- Byzantine Studies, Ancient Mosaics, Material Culture, Constantinople

Hadrianopolis is a site located on the principal western route from the Central Anatolian plain through the mountains to Bartın and the Black Sea, 3 km west of the modern town of Eskipazar, near Karabük, in what was in Roman times southwestern Paphlagonia (modern northwestern central Turkey). This site was a small but important city, controlling this major route and dominating a rich agricultural and especially vinicultural enclave on the borders between Paphlagonia, Bithynia and Galatia. Between 2005 and 2008, four survey, excavation and restoration campaigns were conducted at this Roman and early Byzantine site by Dokuz Eylül University in Izmir. As a result of the 2005 surveys of the area, it was confi rmed that Hadrianopolis was indeed coincident with Viranşehir, which is located c. 3 km west of modern Eskipazar and was active between the 1st cent. BC. and the 8th cent. AD. The fi eld surveys in 2005 identifi ed the remains of at least 24 buildings at the site. Among them are two bath buildings, two basilicas, a domus, an apsidal building, a fortifi ed structure of the Byzantine period, a possible theatre, a vaulted building, a domed building and some domestic buildings, most of which were paved with extensive mosaic floors. Following the publication of the inscriptions (Hadrianopolis I), glass (Hadrianopolis II), and pottery fi nds (Hadrianopolis III), the present volume IV of this multi-volume report is devoted to the early Byzantine mosaics and frescoes from this site, which have been dated mainly to the 6th and 7th cent. AD. The main find spots for mosaics and frescoes are Baths A, Baths B, Basilica A, Basilica B, the Apsidal Building and the Domus. One of the most remarkable discoveries was undoubtedly the floor mosaic of the nave of Basilica B, which displays personifi cations of the Four Rivers of Paradise: Euphrates, Tigris, Phison and Geon.

Colloquio in ricordo di p. Michele Piccirillo
Roma, Pontificia Università Antonianum, 17 novembre 2018

- by francesco benedettucci and +4
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- Archaeology, Classical Archaeology, Near Eastern Archaeology, Near Eastern Studies
- by Steven Fine
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- Jewish Studies, Jewish History, Late Antiquity, Jewish Cultural Studies

En el presente artículo se aborda el análisis de la iconografía de los ríos del Paraíso en las manifestaciones artísticas desde la Antigüedad Tardía hasta la Baja Edad Media. Partiendo de modelos de las divinidades fluviales antiguas, asistimos a una diversidad de formas que son resultado bien de pervivencias de prototipos antiguos, bien de nuevas formas de representación, fruto de la complejidad simbólica que tuvieron los ríos paradisíacos en el Medievo, equiparándose a las cuatro virtudes cardinales o a los Evangelistas. Palabras clave: iconografía, ríos del Paraíso, Edén, aguas vivas, mosaico, románico. Abstract: In this article, we propose to analyze the iconography of the rivers of Paradise in the artistic works, from the Late Antiquity to the Late Middle Ages. Taking the models of the ancient fluvial deities, we attend to diversity of forms that are not only survivals of old prototypes but new forms of representation. This was connected with the strong symbolism that the rivers of Paradise in the Middle Ages had, being equated to the four cardinal virtues or the Evangelists.

The Erlöserkirche at Bad Homburg was built between 1903 and 1908 at the instigation of Kaiser Wilhelm II. It combines a neo-Romanesque exterior with Norman-Sicilian mosaics inside. Both were "Germanic" to the emperor, and the church embodied his all encompassing claim to the tradition of the medieval Holy Roman Empire of the German Nation. Alternatively, the contemporary Byzantinist Ernst Gerland pointed to a Byzantine origin of the Norman-Sicilian models (and thus subtly contradicted the "pan-Germanic" myth). This "Byzantine" reading has prevailed ever since, but does not stand up to scrutiny. It only serves to obscure the "pan-Germanic" concept of the church. This contribution restores the "Germanic" understanding and makes the point that the latter must be acknowledged in order to make proper sense of the church's art and architecture, but also in order to face (rather than to downplay and conveniently forget) the racist-chauvinist character of German imperialism.

- by Philipp Niewöhner
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- Byzantine Studies, Norman Sicily, German Nationalism, Imperial Germany

Antik Dönem Hellen sanatında deniz ve nehir tanrıları önemli bir yer tutar.
Bu tanrı ve tanrıçalar ile ilgili sahneler, Roma Dönemi mozaiklerinde sevilerek konu edinilmiştir. Antiokheia ad Orontes ve Zeugma kentleri zemin mozaiklerinde Okeanos ve Tethys ile ilgili sahnelere rastlamaktayız. Hem bir deniz tanrısı olarak kabul edilen hem de yeryüzünü dört bir yandan saran bir nehir olduğuna inanılan Okeanos bir titandır. Onun eşi Tethys ise denizin verimliliğini simgeler ve bu figürün geç tarihli tasvirlerine Thalassa adı da verilir. Hellen mitolojisine göre Okeanos ve Tethys’in birleşmesinden binlerce nehir doğmuştur. Roma Dönemi ile birlikte deniz ve nehir tanrıları ikonografisi sanatta belirginleşir ve standart bir betimleme tarzına kavuşur. Bu tipik betimleme anlayışı zemin mozaiklerinde rahatlıkla takip edilebilmektedir.

- by Sami Patacı
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- Mythology, Early Christian Art, Christian Iconography, Ancient Mosaics

Multiple connections between the Damascus mosque and the Dome of the Rock in Jerusalem; implications of the size of the surface area covered in mosaic; links with classical, early Christian, Byzantine and other Umayyad mosaics, and with the art of pre-Islamic Arabia; the meaning and iconography of the Damascus mosaics; originality of the Damascus mosque; problems and pitfalls in the interpretation of the Damascus mosaics; their originality and their place in late antique art; Qur'anic inscriptions on high buildings, gardens and rivers; the theme of paradise; the uses of colour in the Damascus mosaics; the karma.

- by Irina Andreescu-Treadgold and +1
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- San Vitale Ravenna, Byzantine Mosaics, Mosaics in Italy
- by Yuri Pyatnitsky
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- Byzantine Studies, Collecting and Collections, Byzantine Mosaics, Byzantine art

Il caso che vogliamo proporre in questa sede è quello del sacello di san Prosdocimo a Padova. Tradizionalmente considerato come un monumento dipendente dall’arte ravennate, si è rivelato all’analisi dei materiali come un cantiere che recepisce per via fluviale “le novità” giunte dal mare, analogamente a quanto accade a Ravenna. Tuttavia, l’analisi storico artistica degli affreschi della cupola suggerisce una revisione della tradizione critica e un ridimensionamento del legame con l’ex capitale imperiale, suggerendo di considerarlo non come un vincolo assodato, ma come un’ipotesi che richiede nuove indagini dei materiali e un lavoro d’equipe.
Alla fine del nostro intervento, strutturato a dittico, proporremo alcune riflessioni sul metodo che si intende estendere ad altri cicli musivi medievali in area altoadriatica.

El objetivo de este trabajo de fin de grado es la recopilación de las diversas reinterpretaciones del Imperio Bizantino que el mundo de la moda ha llevado a cabo. Para ello, consta de dos secciones, una primera centrada en la definición de las características que conforman el imaginario y estética bizantinos, que se llevará a cabo a través de los mosaicos de Ravena, y una segunda que engloba los dos modos de reinterpretación de este imaginario que la moda ha desarrollado en la edad contemporánea.

- by Yolanda Quiñones
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- Fashion design, Ravenna, Byzance, Byzantine Mosaics
- by Igor Dorfmann-Lazarev
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- Theology, Armenian Studies, Historical Theology, Polymorphism

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the ancient necropolis by the Damascene Gate in Jerusalem; it was discovered in 1901 by H. Vincent.
The author proposes a new interpretation of the iconographic program of the Orpheus myth used by wealthy Christians in a sepulchral context (see Olszewski M.T. «Orphée endeuillé de la mosaïque funéraire de Jérusalem», in Rey Mimoso-Ruiz, B. ed., Actes du colloque «Orphée entre Soleil et ombre», à l’Institut Catholique de Toulouse du 16 au 17 novembre 2007, Inter Lignes, numéros spécial – mars 2008, pp. 205-214, 226). He also proposes a new interpretation of the role Orpheus played in Roman funerary art, concentrating on the importance of the play on words and the visual and textual punning that was popular in ancient art and especially in funerary art. He rejects the popular interpretation of Orpheus as Christ in the Roman catacombs and proposes to interpret the image as that of Orpheus, bard of the departed souls, without any ahistorical connection with Christ. The program of the mosaic from Jerusalem is thus explained as a play on the words Orpheus-orphanos and Chiron (Chi-Rho) and Pan [Παν(τοκράτωρ)].The frequently used Christian funerary formula of resting in peace, Christ or the Lord corresponds
perfectly with the mood created around the mythical bard.
Orpheus’ universal role as singer and musician moving even the most stony of hearts, extolling the beloved departed, is absolutely justified in the context of a 6th-century Christian tomb. Orpheus is a popular and neutral figure, meaning that in effect it does not constitute a threat to Christian theology and can be tolerated by the educated Christians of Jerusalem.

Il pavimento musivo della Basilica di San Nicola a Bari è un'opera tra le più importanti e suggestive dell'area adriatica dell'Italia meridionale. In questo breve saggio mi accingo a proporne una prima lettura, certamente assai incompleta, soprattutto in chiave stilistica inquadrandola nel complesso delle opere coeve di produzione romana, laziale, campana e siculo-araba.

- by Nicola Severino
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- Byzantine Studies, Byzantine History, Puglia, Storia medievale
- by Ittai Weinryb
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- Late Antiquity, Baptism, Visigothic Architecture, Mosaic Murals

Da pochi anni è stato scoperto un documento di archivio che permette di attribuire senza dubbi il grandioso pavimento cosmatesco della Cattedrale di Ferentino al maestro Iacopo di Lorenzo. Qui l'autore presenta una prima analisi... more

- by Nicola Severino
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- Art History, Historia del Arte, Storia Dell'Arte Medievale, STORIA DELL'ARTE

More than 20 years after presenting his first interpretation of the mosaic from the House of Aion in a paper entitled “Uwagi na temat mozaiki z Domu Aiona w Nea Paphos (Cypr)” (Meander 9/10, 1987, p. 421-438, in Polish, and translated to English: « The Immortality of the Human Soul and the Dionysiac Mysteries in the 4th Century Allegory [in Connection with the Interpretation of the Mosaic from the “House of Aion” at Paphos in Cyprus]»), where he proposed reading the five mythological panels (1. Leda and Zeus; 2. Dionysus on Mount Nysa; 3. The Dionysian thiasos; 4. Apollo and Marsyas; 5. The Apotheosis of Cassiopeia) as an allegory of the destiny of the human soul and body, starting with conception and ending with the liberation of the soul and its apotheosis, the author now enhances his initial interpretation with numerous reflections concerning the historical context of this work of art, created in the years 320-360.
If, according to the author, the mosaic is a “Hymn” in honour of the pagan gods, Man (his soul) and his place in the (pagan) universe, then at the same time it polemicises with the Christian faith and its God, Jesus Christ.
The author puts forward numerous new solutions relating to the mosaic’s iconography and iconology. Analysis of the mosaic also leads him to propose a solution to the as-yet unanswered question regarding the absence of images of the crucified Christ in Christian art of the 3rd and 4th centuries, up until 420/430, when the first images of Christ on the cross appear.
CONTENTS:
Introduction
1. Research to-date (recap)
2. Description of mosaic (recap)
2.1. Composition of five mythological scenes
2.2. Brief iconographic description of mythological panels
2.3. Outline of individual iconographic elements and their respective roles
2.4. The pagan gods’ air of majesty and dignity as an expression of piety
3. A few words about the pagan reaction
4. An apology of pious human life according to pagan principles and a polemic on the Christian model of Man and his theological idol, Jesus Christ
4.1. Divine intervention in the act of human conception (allusion to/polemic on the Annunciation to the Virgin Mary)
4.2. The Epiphany of Dionysus (an allusion to the Epiphany of Christ – Theou Pais)
4.3. The procession and dissemination of Dionysian order (allusion to/polemic on Christ’s entry into Jerusalem)
4.4. The error of Marsyas (polemic on/allusion to the error of Jesus the Messiah): arrest, sentencing for arrogance and lack of piety (asebeia) and condemnation to a martyr’s death
4.5. The anabasis (or anagoge psyches) of a ‘beautiful soul’ (allusion to/polemic on the Ascension of Christ)
5. A few words on the mosaic programme prior to final conclusions
Final conclusions

"I mosaici delle Basiliche di Santa Pudenziana e dei SS. Cosma e Damiano di Roma. Il primo, considerato il più antico di Roma, agli albori della "nuova" religione, ed il secondo, di quasi duecento anni dopo, mostrano differenti messaggi... more

"I mosaici delle Basiliche di Santa Pudenziana e dei SS. Cosma e Damiano di Roma.
Il primo, considerato il più antico di Roma, agli albori della "nuova" religione, ed il secondo, di quasi duecento anni dopo, mostrano differenti messaggi che il lavoro qui presentato tenta di individuare."

- by isabella Baldini
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- Late Antiquity, Ravenna, Byzantine Mosaics, Early Christian Mosaics

I mosaici del Mausoleo di Galla Palcidia e della chiesa di Sant'Apollinare Nuovo a Ravenna comparati.

- by Giuseppe Esposito
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- Ostrogoths, Ravenna, Storia Dell'Arte Medievale, Byzantine Mosaics

a pubblicazione di questo fascicolo trae spunto dall’intervento di conservazione in corso sul mosaico della Trasfigurazione, situato nell’abside della basilica del Monastero di Santa Caterina nel Sinai. Il mosaico, così come le opere d’arte in generale, non godono per loro natura di vita eterna; al contrario sono fragili e richiedono cure e attenzioni. Allarmata da evidenti segni di degrado presenti sul mosaico, la comunità monastica di Santa Caterina ha dato inizio ad un programma di conservazione e ne ha affidato la realizzazione al CCA, Centro di Conservazione Archeologica di Roma. Il lungo e delicato intervento é iniziato nel Novembre 2005 ed é tuttora in corso. La pubblicazione è stata realizzata in arabo, francese, greco, inglese, italiano, russo, spagnolo e tedesco. Racconta la storia del mosaico e dell’intervento di conservazione, permette attraverso nuove immagini di apprezzare la magnificenza del mosaico, perché i visitatori possano portare con sé una memoria della loro visita e di quanto i monaci fanno ogni giorno per la protezione dell’immenso patrimonio da essi custodito.
Il testo è pubblicato in italiano, inglese, tedesco, francese e spagnolo.

- by Nicola Severino
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- Art History, Storia Dell'Arte Medievale, STORIA DELL'ARTE, Byzantine Mosaics
- by Andrew M. Madden
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- Early Christianity, Byzantine Archaeology, Early Christian Art, Ancient Mosaics
- by Paola Pogliani
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- Caria, Byzantine Mosaics

Articolo di carattere divulgativo pubblicato su Archeorivista/Antika/ArchArt.
La sottoscritta è autrice dei testi.

The paper is a quick overview of the revival of Mosaic art in Palestine through the people who participated and give their assistance along the years. It is for me an opportunity to reflect on the results obtained in more than 16 years of training, about successes and failures, and a way to remember the contribution of friends who have left us in the meanwhile, prof. Michele Piccirillo, mosaicist Rasmi Al Shaer and prof. Pietro Kaswalder, leaving a vivid memory and push to continue our efforts

- by Osama Hamdan
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- Palestine, Ancient Mosaics, Byzantine Mosaics, Mosaic Restoration and Conservation

Los 11 conjuntos eclesiales de la Antigüedad Tardía en el archipiélago balear. LAGARDA MATA, Ferran (2012). Las Basílicas Paleocristianas de las Baleares. Sobradiel: 2012. 232 Pàgines A4 amb 237 Il·lustracions en color i B/N. Idioma:... more

Los 11 conjuntos eclesiales de la Antigüedad Tardía en el archipiélago balear.
LAGARDA MATA, Ferran (2012). Las Basílicas Paleocristianas de las Baleares.
Sobradiel: 2012.
232 Pàgines A4 amb 237 Il·lustracions en color i B/N. Idioma: Castellano. PVP: 50,00 €
ISBN: 9788496810242

- by Ferran Lagarda Mata
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- Christianity, Archaeology, Medieval History, History of Christianity
- by Devis Valenti
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- Venice, Byzantine Mosaics, Medieval mosaics, San Marco, Venice, Mosaics
- by Fatih ŞİMŞEK
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- Art History, Sanat Tarihi, Byzantine Mosaics, Hagia Sophia