A Byzantine icon of the dexiokratousa Hodegetria from Crete at the Benaki Museum

2017 ◽  
pp. 393-412
Keyword(s):  
Byzantine Icon

Nature Godly and Beautiful: The Iconic Earth

2001 ◽  
Vol 31 (1) ◽  
pp. 113-155 ◽  
Author(s):  
Bruce Foltz
Keyword(s):  
Middle Ages ◽  
Natural Environment ◽  
Environmental Philosophy ◽  
Western Art ◽  
Late Middle Ages ◽  
The Earth ◽  
Latin West ◽  
Technical Mastery ◽  
Byzantine Icon ◽  
Divine Beauty

AbstractRooted in a tradition of thought and spirituality akin to, yet other than, the onto-theology of the Latin West, the aesthetico-theological experience of the Byzantine icon can help articulate aesthetic and numinous elements of our relation to nature that environmental philosophy should no longer ignore. In contrast to the technical mastery of the natural in Western art inaugurated by the Renaissance, itself related to the emerged technological mastery of nature in the late Middle Ages, the iconic sensibility characteristic of the Byzantine East exhibits an experience of materiality common to non-Western humanity, seeing nature as a visible window to the invinsible, a lintel of the holy. A series of correlations between features of iconic seeing and exemplary encounters with the natural environment by prominent naturalists elaborates this thesis, along with examples from the later writings of Dostoevsky, who looked to divine beauty to save the earth.

The Byzantine Icon of the Virgin in the Church of the Blachernae: Michael Psellos on the Problem of Miraculous Timing

2021 ◽  
Vol 51 (2) ◽  
pp. 241-262
Author(s):  
Paroma Chatterjee
Keyword(s):  
Eleventh Century ◽  
The Veil ◽  
Byzantine Icon ◽  
The Church ◽  
Byzantine History ◽  
Critical Moments

This article looks closely at the report of a miracle that occurred in eleventh-century Constantinople in which the veil covering an icon of the Theotokos (Virgin) at the Blachernae church lifted itself miraculously. The report, scripted by the Byzantine polymath Michael Psellos, focuses in intriguing ways on the actions and nonactions of the veil when the icon presided over a judicial trial. The article contends that Psellos insists on the theme of timing (with regard to the lifting and otherwise of the veil) and the Blachernae icon's role in determining a critical, decisive moment in the arbitration of human affairs. This emphasis, in turn, bespeaks a broader concern over the timing of sacred icons during significant moments in Byzantine history as understood by contemporary chroniclers: namely, their failure to act in appropriate ways at critical moments when the empire itself was at stake.

Windows into Heaven: Russian Icons of the Brown Collection

1969 ◽  
Vol 3 (1) ◽  
pp. 91-112
Author(s):  
Regan Denarde Shrumm
Keyword(s):  
North America ◽  
Byzantine Empire ◽  
Orthodox Church ◽  
Art Collections ◽  
Russian People ◽  
The Look ◽  
The University ◽  
Byzantine Icon

In North America, Russian icons are not often seen as distinct from other religious artefacts. Yet, while the art of the Byzantine Empire and its affiliation with the Orthodox Church did influence the look of Russian icons, and Russian artists initially followed Byzantine icon guidelines in their production, they focused on optimistic rather than tragic images. By examining the crucifixion scene on three Russian icons from the Brown Collection at the University of Victoria Art Collections, this article explores the distinct use and importance of icons to the Russian people.

A post-Byzantine icon of St Nicholas painted on a leather support. Microanalysis and characterisation of technique

2004 ◽  
Vol 5 (4) ◽  
pp. 349-360 ◽  
Author(s):  
V. Ganitis ◽  
E. Pavlidou ◽  
F. Zorba ◽  
K.M. Paraskevopoulos ◽  
D. Bikiaris
Keyword(s):  
Byzantine Icon

Fragments of a steatite icon (diptych wing) with the Great Feasts cycle excavated in Chełm (eastern Poland)

2021 ◽  
Vol 114 (1) ◽  
pp. 111-138
Author(s):  
Andrzej Buko ◽  
Tomasz Dzieńkowski ◽  
Stanisław Gołub ◽  
Mirosław P. Kruk ◽  
Marek Michalik ◽  
...  
Keyword(s):  
Archaeological Research ◽  
13Th Century ◽  
12Th Century ◽  
Petrographic Analyses ◽  
The Subject ◽  
Byzantine Icon ◽  
Archaeological Excavations

Abstract The paper presents fragments of a Byzantine icon discovered in 2015 during regular archaeological excavations carried out in Chełm, eastern Poland. Iconographic analyses allow the nine surviving fragments to be interpreted as belonging to a diptych wing with the Great Feasts cycle. The icon represents archaic iconography of the subject, with the scene of Transfiguration placed after Entry into Jerusalem and before the Crucifixion. The artefact was created in the second half or at the close of the 12th century, and it was made from steatite, which has been confirmed by petrographic analyses. The icon was discovered in the remains of a palace complex of King Daniel Romanovich, the greatest ruler of the Galicia-Volhynia Lands. The results of the archaeological research allow the terminus ante quem for the icon’s arrival in Chełm to be determined as before the middle of the 13th century. Various possible explanations as to how the icon found its way to Chełm are also explored in the paper.

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