The Poets In The Hermeneia Of Dionysius Of Fourna

This collection of essays delineates the history of the rather disparate intellectual tradition usually labeled as "Platonic" or "Neoplatonic". In chronological order, the book covers the most eminent philosophic schools of thought within that tradition. The most important terms of the Platonic tradition are studied together with a discussion of their semantic implications, the philosophical and theological claims associated with the terms, the sources that furnish the terms, and the intellectual traditions aligned with or opposed to them. The contributors thereby provide a vivid intellectual map of the Middle Ages and the Early Modern period. Contributions are written in English or German.

This volume builds upon the new worldwide interest in the global Middle Ages. It investigates the prismatic heritage and eclectic artistic production of Eastern Europe between the fourteenth and seventeenth centuries, while challenging the temporal and geographical parameters of the study of medieval, Byzantine, post-Byzantine, and early-modern art. Contact and interchange between primarily the Latin, Greek, and Slavic cultural spheres resulted in local assimilations of select elements that reshaped the artistic landscapes of regions of the Balkan Peninsula, the Carpathian Mountains, and further north. The specificities of each region, and, in modern times, politics and nationalistic approaches, have reinforced the tendency to treat them separately, preventing scholars from questioning whether the visual output could be considered as an expression of a shared history. The comparative and interdisciplinary framework of this volume provides a holistic view of the visual culture of these regions by addressing issues of transmission and appropriation, as well as notions of cross-cultural contact, while putting on the global map of art history the eclectic artistic production of Eastern Europe.

Hellenism is the living culture of the Greek-speaking peoples and has a continuing history of more than 3,500 years. The Encyclopedia of Greece and the Hellenic Tradition contains approximately 900 entries devoted to people, places, periods, events, and themes, examining every aspect of that culture from the Bronze Age to the present day. The focus throughout is on the Greeks themselves, and the continuities within their own cultural tradition. Language and religion are perhaps the most obvious vehicles of continuity; but there have been many others--law, taxation, gardens, music, magic, education, shipping, and countless other elements have all played their part in maintaining this unique culture. Today, Greek arts have blossomed again; Greece has taken its place in the European Union; Greeks control a substantial proportion of the world's merchant marine; and Greek communities in the United States, Australia, and South Africa have carried the Hellenic tradition throughout the world. This is the first reference work to embrace all aspects of that tradition in every period of its existence.

This volume gathers together 17 articles published over the last 30 years, together with one appearing here for the first time. Their focus is primarily on enamel, the brilliant and colourful art form for which the Byzantines were famous throughout the medieval world, but sculpture and glyptics also figure. The author examines not only works which have retained the form in which they were first created, but others which have had their original Byzantine elements re-used, often by artists in the West. While most of the works featured here have been known to scholars before, one was unknown prior to its first publication in 2006.

This detailed book is among the oldest of the "Greek-style" narrative patternbooks and instruction texts extant. Includes introductory sections on icon painting techniques and describes hundreds of figures of saints, Old and New Testament events, parables, feast days, decorations of churches and color. Compiled on Mt Athos from 1730-1734, from ancient and contemporary sources.

The twelve papers written for this volume reflect the wide scope of Annemarie Weyl Carr's interests and the equally wide impact of her work. The concepts linking the essays include the examination of form and meaning, the relationship between original and copy, and reception and cultural identity in medieval art and architecture. Carr’s work focuses on the object but considers the audience, looks at the copy for retention or rejection of the original form and meaning, and always seeks to understand the relationship between intent and perception. She examines the elusive nature of ’center’ and ’periphery’, expanding and enriching the discourse of manuscript production, icons and their copies, and the dissemination of style and meaning. Her body of work is impressive in its chronological scope and geographical extent, as is her ability to tie together aspects of patronage, production and influence across the medieval Mediterranean. The volume opens with an overview of Carr’s career at Southern Methodist University, by Bonnie Wheeler. Kathleen Maxwell, Justine Andrews and Pamela Patton contribute chapters in which they examine workshops, subgroups and influences in manuscript production and reception. Diliana Angelova, Lynn Jones and Ida Sinkevic offer explorations of intent and reception, focusing on imperial patronage, relics and reliquaries. Cypriot studies are represented by Michele Bacci and Maria Vassilaki, who examine aspects of form and style in architecture and icons. The final chapters, by Jaroslav Folda, Anthony Cutler, Rossitza Schroeder and Ann Driscoll, are linked by their focus on the nature of copies, and tease out the ways in which meaning is retained or altered, and the role that is played by intent and reception.

Painting the Soul is a beautifully illustrated study of the creation and development of the icon. "This book is a firework display. It sets off scores of explosions which light up the sky over-arching our field, terrain that is normally traversed nose down and too mindful of the footsteps of our predecessors."—Burlington Magazine