Understanding Byzantium

This book was first published in 2003.Paul Speck's work is acknowledged to be of profound importance for the study of the history and culture of the Byzantine world. If at times controversial, it has proved highly influential in terms of the approaches to be taken to historical and literary sources. For many, however, it has remained largely inaccessible in its original German. To help overcome this, the selection of studies presented here have been specially translated into English. Taken together, they make a substantial contribution to a critical understanding of Byzantine writing, and to an interpretation of history free from prejudice and stereotyped conceptions. Their coverage extends from the foundation of Constantinople to current perceptions of Byzantine history, but they focus in particular on the period from the 6th to the 9th centuries - the 'Dark Ages' and the Byzantine renaissance - and the transformation of Byzantium that then took place.

This book was first published in 2003.Paul Speck's work is acknowledged to be of profound importance for the study of the history and culture of the Byzantine world. If at times controversial, it has proved highly influential in terms of the approaches to be taken to historical and literary sources. For many, however, it has remained largely inaccessible in its original German. To help overcome this, the selection of studies presented here have been specially translated into English. Taken together, they make a substantial contribution to a critical understanding of Byzantine writing, and to an interpretation of history free from prejudice and stereotyped conceptions. Their coverage extends from the foundation of Constantinople to current perceptions of Byzantine history, but they focus in particular on the period from the 6th to the 9th centuries - the 'Dark Ages' and the Byzantine renaissance - and the transformation of Byzantium that then took place.

From the reception of imperial ekphraseis in Hagia Sophia to the sounds and smells of the back streets of Constantinople, the sensory perception of Byzantium is an area that lends itself perfectly to an investigation into the experience of the Byzantine world. The theme of experience embraces all aspects of Byzantine studies and the Experiencing Byzantium symposium brought together archaeologists, architects, art historians, historians, musicians and theologians in a common quest to step across the line that divides how we understand and experience the Byzantine world and how the Byzantines themselves perceived the sensual aspects of their empire and also their faith, spirituality, identity and the nature of ’being’ in Byzantium. The papers in this volume derive from the 44th Spring Symposium of Byzantine Studies, held for the Society for the Promotion of Byzantine Studies by the University of Newcastle and University of Durham, at Newcastle upon Tyne in April 2011. They are written by a group of international scholars who have crossed disciplinary boundaries to approach an understanding of experience in the Byzantine world. Experiencing Byzantium is volume 18 in the series published by Ashgate on behalf of the Society for the Promotion of Byzantine Studies.

With original essays by leading scholars, this book explores the social history of the medieval eastern Roman Empire and offers illuminating new insights into our knowledge of Byzantine society. Provides interconnected essays of original scholarship relating to the social history of the Byzantine empire Offers groundbreaking theoretical and empirical research in the study of Byzantine society Includes helpful glossaries of sociological/theoretical terms and Byzantine/medieval terms

Sacred Shock attempts to lay bare the inner workings of Byzantine art by looking closely at the marginal or subsidiary areas in works of art.

With images culled from eleven hundred years of history, this comprehensive survey explores the Byzantine empire’s vast range of artistic splendors that indelibly informed the art of modern Europe. Renowned scholar Thomas Mathews emphasizes that the Byzantines’ interest in humanism and painting the human figure became the essential bridge between classical and renaissance Europe. Starting with a brief history of Byzantium as a basis for understanding Byzantine theology and art, he places the empire’s artistic development within a broad cultural and historical context. Featuring more than one hundred color plates of mosaics, metalwork, architecture, frescoes and religious artifacts, as well as maps, diagrams, and a timeline, this definitive work provides a complete yet succinct introduction to the full range of Byzantine art and iconography.

Byzantium/Modernism features contributions by fourteen international scholars and brings together a diverse range of interdisciplinary essays on art, architecture, theatre, film, literature, and philosophy, which examine how and why Byzantine art and image theory can contribute to our understanding of modern and contemporary visual culture. Particular attention is given to intercultural dialogues between the former dominions of the Byzantine Empire, with a special focus on Greece, Turkey, and Russia, and the artistic production of Western Europe and America. Together, these essays invite the reader to think critically and theoretically about the dialogic interchange between Byzantium and modernism and to consider this cross-temporal encounter as an ongoing and historically deep narrative, rather than an ephemeral or localized trend. Contributors are Tulay Atak, Charles Barber, Elena Boeck, Anthony Cutler, Rico Franses, Dimitra Kotoula, Marie-José Mondzain, Myroslava M. Mudrak, Robert S. Nelson, Robert Ousterhout, Stratis Papaioannou, Glenn Peers, Jane A. Sharp and Devin Singh.

Long after Rome fell to the Germanic tribes, its culture lived on in Constantinople, the glittering capital of the Byzantine Empire. For more than 1000 yeras (AD 330-1453) Byzantium was one of the most advanced and complex civilisations the world had ever seen. As the Mediterranean outlet for the silk route, its trade networks stretched from Scandinavia to Sri Lanka; its artists created sombre icons and brilliant gold mosaics; its scholarship served as a vital cultural bridge between the Muslim East and the Catholic West; and it fostered the Orthodox Christianity that is the faith of millions today. This book shows the innovative art that inspired French kings and Arab emirs. It includes a gazetteer of historic Byzantine sites and monuments that travellers can visit today in greece, Italty, Turkey and the Middle East. A chronology of Byzantine history and a list of emperors complete this ideal resource for the student, traveller or generally curious reader.

The fall of the Byzantine capital of Constantinople to the Latin West in 1204 during the Fourth Crusade abruptly interrupted nearly nine hundred years of artistic and cultural traditions. In 1261, however, the Byzantine general Michael VIII Palaiologos triumphantly re-entered Constantinople and reclaimed the seat of the empire, initiating a resurgence of art and culture that would continue for nearly three hundred years, not only in the waning empire itself but also among rival Eastern Christian nations eager to assume its legacy. Byzantium: Faith and Power (1261–1557), and the groundbreaking exhibition that it accompanies, explores the artistic and cultural flowering of the last centuries of the "Empire of the Romans" and its enduring heritage. Conceived as the third of a trio of exhibitions dedicated to a fuller understanding of the art of the Byzantine Empire, whose influence spanned more than a millennium, "Byzantium: Faith and Power (1261–1557)" follows the 1997 landmark presentation of "The Glory of Byzantium," which focused on the art and culture of the Middle Byzantine era—the Second Golden Age of the Byzantine Empire (843–1261). In the late 1970s, "The Age of Spirituality" explored the early centuries of Byzantium's history. The present concluding segment explores the exceptional artistic accomplishments of an era too often considered in terms of political decline. Magnificent works—from splendid frescoes, textiles, gilded metalwork, and mosaics to elaborately decorated manuscripts and liturgical objects—testify to the artistic and intellectual vigor of the Late and Post-Byzantine era. In addition, forty magnificent icons from the Holy Monastery of Saint Catherine, Sinai, Egypt, join others from leading international institutions in a splendid gathering of these powerful religious images. While the political strength of the empire weakened, the creativity and learning of Byzantium spread father than ever before. The exceptional works of secular and religious art produced by Late Byzantine artists were emulated and transformed by other Eastern Christian centers of power, among them Russia, Serbia, Bulgaria, and Cilician Armenia. The Islamic world adapted motifs drawn from Byzantium's imperial past, as Christian minorities in the Muslin East continued Byzantine customs. From Italy to the Lowlands, Byzantium's artistic and intellectual practices deeply influenced the development of the Renaissance, while, in turn, Byzantium's own traditions reflected the empire's connections with the Latin West. Fine examples of these interrelationships are illustrated by important panel paintings, ceramics, and illuminated manuscripts, among other objects. In 1557 the "Empire of the Romans," as its citizens knew it, which had fallen to the Ottoman Turks in 1453, was renamed Byzantium by the German scholar Hieronymus Wolf. The cultural and historical interaction and mutual influence of these major cultures—the Latin West and the Christian and Islamic East—during this fascinating period are investigated in this publication by a renowned group of international scholars in seventeen major essays and catalogue discussions of more than 350 exhibited objects.

Byzantium was one of the longest-lasting empires in history. Throughout the millennium of its existence, the empire showed its capability to change and develop under very different historical circumstances. This remarkable resilience would have been impossible to achieve without the formation of a lasting imperial culture and a strong imperial ideological infrastructure. Imperial culture and ideology required, among other things, to sort out who was ʻinsiderʼ and who was ʻoutsiderʼ and develop ways to define and describe ones neighbours and interact with them. There is an indefinite number of possibilities for the exploration of relationships between Byzantium and its neighbours. The essays in this collection focus on several interconnected clusters of topics and shared research interests, such as the place of neighbours in the context of the empire and imperial ideology, the transfer of knowledge with neighbours, the Byzantine perception of their neighbours and the political relationship and/or the conflict with neighbours.