The Tasks of the Translators: Relics and Communications between Constantinople and Northern France in the Aftermath of 1204

2018 ◽  
Author(s):  
Anne E. Lester
Keyword(s):  
Material Culture ◽  
Byzantine Empire ◽  
Fourth Crusade ◽  
Northern France ◽  
Works Of Art ◽  
Latin West ◽  
The Creation

The concept of linguistic “translation” helps to understand the process by which the material culture of the Byzantine empire, taken from Byzantine churches and palaces following the conquest of Constantinople by the Fourth Crusade, was interpreted in new environments in the Latin West. This was a process that required input from those invested in shaping the meaning of the relics and the creation of unique works of art in the form of new reliquaries.

Artistic-professional strategies in the music sector. The case of the jazz scene in Barcelona

2020 ◽  
pp. 145-163
Author(s):  
Marta Casals Balaguer
Keyword(s):  
Research Methods ◽  
Social Dimension ◽  
Artistic Identity ◽  
Professional Musicians ◽  
Main Research ◽  
Works Of Art ◽  
The Social ◽  
The Creation

This article aims to analyse the strategies that jazz musicians in Barcelona adopt to develop their artistic careers. It focuses on studying three main areas that influ-ence the construction of their artistic-professional strategies: a) the administrative dimension, characterized mainly by management and promotion tasks; b) the artistic-creative dimension, which includes the construction of artistic identity and the creation of works of art; and c) the social dimension within the collective, which groups together strategies related to the dynamics of cooperation and col-laboration between the circle of musicians. The applied methodology came from a qualitative perspective, and the main research methods were semi-structured inter-views conducted with active professional musicians in Barcelona and from partic-ipant observation.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

Russian Museum of Emperor Alexander III as a place of memory

2020 ◽  
Vol 2020 (11-1) ◽  
pp. 132-147
Author(s):  
Dmitry Rakovsky
Keyword(s):  
Comparative Analysis ◽  
Historical Consciousness ◽  
Russian Society ◽  
Museum Collection ◽  
Works Of Art ◽  
History Of ◽  
The Creation ◽  
Historical Representations

The main purpose of this article is to study the role of the Russian Museum in the formation of the historical consciousness of Russian society. In this context, the author examines the history of the creation of the Russian Museum of Emperor Alexander III and its pre-revolutionary collections that became the basis of this famous museum collection (in particular, the composition of the museum’s expositions for 1898 and 1915). Within the framework of the methodology proposed by the author, the works of art presented in the museum’s halls were selected and distributed according to the historical eras that they reflect, and a comparative analysis of changes in the composition of the expositions was also carried out. This approach made it possible to identify the most frequently encountered historical heroes, to consider the representation of their images in the museum’s expositions, and also to provide a systemic reconstruction of historical representations broadcast in its halls.

The Scientific Value Of Research On Mirmukhsin Fikriy

2020 ◽  
Vol 2 (08) ◽  
pp. 583-589
Author(s):  
Umriniso Rahmatovna Turaeva
Keyword(s):  
Political Environment ◽  
Continuous Development ◽  
The Past ◽  
Works Of Art ◽  
Literary Heritage ◽  
History Of ◽  
The Creation ◽  
Scientific Value

The history of the Turkestan Jadid movement and the study of Jadid literature show that it has not been easy to study this subject. The socio-political environment of the time led to the blind reduction of the history of continuous development of Uzbek literature, artificial reduction of the literary heritage of the past on the basis of dogmatic thinking, neglect of the study of works of art and literary figures. As a result, the creation of literary figures of a certain period, no matter how important, remained unexplored.

Church and State in the Byzantine Empire: A Reconsideration of The Problem of Caesaropapism

1965 ◽  
Vol 34 (4) ◽  
pp. 381-403 ◽  
Author(s):  
Deno J. Geanakoplos
Keyword(s):  
Eleventh Century ◽  
Church And State ◽  
Political Influence ◽  
Fourth Century ◽  
Byzantine Empire ◽  
Roman Emperor ◽  
The West ◽  
Latin West

In the medieval theocratic societies of both the Byzantine East and the Latin West, where the influence of Christian precepts so strongly pervaded all aspects of life, it was inevitable that the institutions of church and state, of sacerdotium and regnum to use the traditional Latin terms, be closely tied to one another. But whereas in the West, at least after the investiture conflict of the eleventh century, the pope managed to exert a strong political influence over secular rulers, notably the Holy Roman Emperor, in the East, from the very foundation of Constantinople in the fourth century, the Byzantine emperor seemed clearly to dominate over his chief ecclesiastical official, the patriarch.

scholarly journals The mock turtle's tears: ersatz enamel and the hierarchy of media in Pseudo-Kodinos

2017 ◽  
Vol 41 (1) ◽  
pp. 55-80
Author(s):  
Warren T. Woodfin
Keyword(s):  
Fourteenth Century ◽  
Fourth Crusade ◽  
Works Of Art ◽  
Reverse Painting

The enormous prestige accorded to Byzantine cloisonné enamel seems to have continued into the Palaiologan period, although evidence suggests that its production ceased in the decades after the Fourth Crusade. The medium of the imperial images described by Pseudo-Kodinos as ὑπὸ ὑελίου λεγομένου διαγελάστου, which was worn on the headgear of thirteen ranks of court officials, is here identified as verre églomisé, reverse painting on glass. A reading of Pseudo-Kodinos’ treatise alongside surviving works of art suggests that fourteenth-century Byzantines were consciously using ersatz media in an effort to keep up the appearance of continuity with the empire's more prosperous past.

Byzantine Scyphate Bronze coinage in Greece

1961 ◽  
Vol 56 ◽  
pp. 42-63 ◽  
Author(s):  
D. M. Metcalf
Keyword(s):  
Thirteenth Century ◽  
Twelfth Century ◽  
Good Deal ◽  
The Other ◽  
Purchasing Power ◽  
Byzantine Empire ◽  
Market Place ◽  
Fourth Crusade ◽  
Unusual Form

The Byzantine coinage in the twelfth century was of three kinds. There were gold nomismata, with a purchasing power which must have been a good deal greater than that of a present-day five-pound note, and also nomismata of ‘pale gold’—gold alloyed with silver—of lower value; at the other extreme there were bronze coins, smaller than a modern farthing, which were the coinage of the market-place; intermediate, but still of low value, there were coins about the size of a halfpenny, normally made of copper lightly washed with silver. The silvered bronze and the gold were not flat, as are most coins, but saucer-shaped. The reason for their unusual form is not known. Numismatists describe them as scyphate, and refer to the middle denomination in the later Byzantine system of coinage as Scyphate Bronze, to distinguish it from the petty bronze coinage. Scyphate Bronze was first struck under Alexius I (1081–1118). Substantive issues were made by John II (1118–43), and such coinage became extremely plentiful under Manuel I (1143–80) and his successors Isaac II (1185–95) and Alexius III (1195–1203). After the capture of Constantinople in the course of the Fourth Crusade, the successor-states to the Byzantine Empire at Nicaea, Salonica, and in Epirus continued to issue scyphate bronze coinage, although in much smaller quantities, until after the middle of the thirteenth century.

scholarly journals The Lashkendar Church and the Alan-Abkhazian Cultural Contacts: Prospects of Studying

2018 ◽  
Vol 15 (3) ◽  
pp. 298-308 ◽  
Author(s):  
E. Yu. Endoltseva
Keyword(s):  
Material Culture ◽  
Ethnic Groups ◽  
Cultural Exchange ◽  
Silk Road ◽  
Byzantine Empire ◽  
Close Proximity ◽  
Krasnodar Region ◽  
The Church ◽  
The Silk Road ◽  
Christian Beliefs

The article studies the Alan-Abkhazian cultural contacts by analyzing architectural decorations of these peoples. Actuality of the study is determined by considering the architectural decorations as a cultural marker of Abkhazians and Alans in the period of the 8th—10th centuries. This point of consideration is primarily important for studying the material culture of the ethnic groups living in close proximity to the route of the Silk Road, which is regarded as a powerful catalyst for cultural exchange between the numerous tribes and peoples each having its own unique and diverse artistic skills. The article compares a number of artifacts: some fragments of the altar barrier from Anacopia (Republic of Abkhazia, New Athos) and some fragments of the altar barrier from the Ilyichevskoe Hillfort (Krasnodar Region, Otradnensky District). This allows the author to state that there existed common ornamental schemes in the monumental art of those peoples in the period preceding the 13th—14th centuries. The article analyzes the patterns and zoomorphic images of “animals in a heraldic pose” from the church on Mount Lashkendar (Republic of Abkhazia, Tkuarchalsky District), and a dog from the Alan tomb of the Kyafarskoe Hillfort (Karachay-Cherkess Republic, Zelenchuksky District), providing additional arguments for the animals’ identifi cation. The author explores the system of images of the Alan tomb to determine the semantics of the dog’s image in the Christian church’s decoration and comes to the conclusion that the symbolism of the dog’s image originates from pre-Christian beliefs (namely, those Zoroastrian). The article emphasizes the fruitfulness of studying the Alan-Abkhazian contacts using the example of architectural decoration: it makes possible to identify some images and specify their dates. The author offers a variant of identifi cation of the relief from Mount Lashkendar; defi nes the place of this unique monument in the course of formation of the original artistic culture of the Abkhazian Kingdom; notes the heterogeneous infl uences on this process, coming both from the territories of different regions of the Byzantine Empire (Constantinople, Cappadocia, etc.) and from Transcaucasia (Armenia, Georgia). The Alan-Abkhazian layer of cultural contacts is highlighted.

The Indiculus Luminosus and the Creation of a Ninth-Century Prophetic Conflict between Christianity and Islam

2019 ◽  
Vol 5 (2) ◽  
pp. 17-37
Author(s):  
Andrew Sorber
Keyword(s):  
Ninth Century ◽  
Latin West ◽  
The Creation ◽  
The City ◽  
Prophetic Authority

This article reappraises a frequently misunderstood witness to relations between Christianity and Islam in ninth-century al-Andalus, the polemical Indiculus luminosus. Written in 854 by Paulus Alvarus, a lay Christian in Umayyad Córdoba, the Indiculus attempts to incite opposition to Islam among the Christian elites of the city by appropriating the language of prophetic authority, increasingly used throughout the Latin West, in imagined opposition to the Prophet Muḥammad. Alvarus's Indiculus reflects his—and his intended audience's—profound anxiety about Islam in the wake of the Córdoban matyrdoms and it attempts to discredit Muḥammad while simultaneously alienating Christians from the familiar religion to which they had long accommodated themselves within the Umayyad emirate.

The Collapse of the Byzantine Empire in the Twelfth Century

2013 ◽  
Author(s):  
Judith Herrin
Keyword(s):  
Foreign Policy ◽  
Twelfth Century ◽  
Economic Organization ◽  
Diplomatic Relations ◽  
Byzantine Empire ◽  
Fourth Crusade ◽  
Latin Empire

This chapter examines the collapse of the Byzantine Empire in the twelfth century. Between the tenth and twelfth centuries, the Byzantine state machinery was extremely sophisticated. It directed a systematic foreign policy and maintained a developed network of diplomatic relations with neighboring powers, controlled the minting and circulation of a stable gold currency, and ran a complex bureaucratic administration. However, the empire's economic organization was primitive. The chapter analyzes the fiscal and commercial aspects of the economic organization of a provincial area of the Byzantine Empire under the Angeloi during the period 1185–1204. It suggests that the conquest and sack of Constantinople by the Fourth Crusade constitutes a collapse and disappearance of the empire in 1204, and that the establishment of a Latin Empire on Byzantine territory signals a definite break with the former Byzantine organization.

Sign in / Sign up

Export Citation Format

Share Document