Notes on the Work of the Byzantine Institute in Istanbul: 1957-1959; The Conservation of a Byzantine Fresco Discovered at Etyemez, Istanbul

Underwood, Paul A.; Majewski, Lawrence J.

doi:10.2307/1291150

Cited by 3 publications

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“…Subsequently, these doors were relocated by Tsar Ivan IV the Terrible to the Trinity Cathedral in Alexandrov, Vladimir Oblast. See (Trifonova 2015). (Taddei 2009;Gergova 2017;Nikonanos 2001, pp.…”

Section: Discussionmentioning

confidence: 99%

“…Traditionally, the prevailing belief held that the historiated doors preserved at Novgorod were crafted in Byzantium and transported from Crimea, hence earning the moniker "the Korsun [i.e., Chersonese] doors". Nevertheless, research has shown that these doors were crafted in Magdeburg, albeit inspired by Byzantine design (Daniec 1991;Trifonova 2015;Makhortykh et al 2023).…”

Section: Bronze and Wooden Doors In Romanesque Europementioning

confidence: 99%

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“The Gates of Eternal Life”: Metamorphosis and Performativity in Middle to Late Byzantine Sculpted Church Doors (with a Case Study of a Wallachian Wooden Door)

Negrău

2024

Religions

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In recent years, there has been a growing interest in analyzing the manufacturing techniques of Byzantine church doors in laboratory settings. However, the connection between the iconography and significance of the décor of church doors and their liturgical performativity, as well as their parallels with iconostases in Byzantium, remained a relatively underexplored area of study. This article seeks to delve deeper into these intersections. By focusing on the relationship between the iconography of church doors in Middle to Late Byzantium and their connection to the sacred space and liturgical practices, I aim to shed light on how these artworks played a crucial role in the sacred experience of the Byzantines. This exploration will not highlight only the aesthetic evolution of church door artwork but also emphasize the communal and embodied nature of the religious experience during the Byzantine era. Their intricate designs were not merely decorative elements but served as portals to the divine, enriching the salvation journey of worshippers as they crossed the threshold into the liturgical spaces. By conducting an examination of the development of door iconography and their symbolism throughout the empire’s history, the transformation of narrative depictions from the Middle Byzantine era to the Palaiologan period, culminating in a convergence of symbolic meanings within the sacred space of the church, is delineated. This transformation is further exemplified by a sculpted church door from the Principality of Wallachia. By bridging the gap between art history and religious studies, this article aims to rekindle interest in the profound symbolism and significance of Byzantine church doors and their relation to sacred liturgical space, offering a broader perspective on an important aspect of Byzantine heritage.

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Section: Discussionmentioning

confidence: 99%

Section: Bronze and Wooden Doors In Romanesque Europementioning

confidence: 99%

“The Gates of Eternal Life”: Metamorphosis and Performativity in Middle to Late Byzantine Sculpted Church Doors (with a Case Study of a Wallachian Wooden Door)

Negrău

2024

Religions

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The Porta speciosa of Esztergom •

Takács

2023

AHistA

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This essay was carried out in the framework of a research programme (Thesaurus Mediaevalis, Eötvös Loránd University, Budapest, 2017–2022) funded by the Hungarian Academy of Sciences, and deals with one of the most complex but hardly accessible works of the Árpád period, the former main portal of the Esztergom Cathedral, which was decorated with sculptures and inlaid marble images. It was built in the last decade of the 12th century under King Béla III (1172–1196) and survived the Turkish invasion, but its remains were destroyed during the 19th century construction works. Since then, it exists only in textual sources, depictions and museum fragments. The present work aims primarily to collect and catalogue the fragments, but also to examine the structure of this work of exceptional quality, the artistic orientation of its workshop and the content of the images. It examines questions such as the history of the construction of the building, the sculptural quality of the fragments, which European art centres are related to them (including, in addition to the dominant role of the centres in northern Italy, the Byzantine influence conveyed by the various forms of transport), the circumstances under which the artists could have arrived in the Kingdom of Hungary, the inspiration for their art, what their knowledge and the needs of their clients reveal, and whether there were any interruptions, changes of plan or new beginnings during the construction.

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A Preliminary. Study of the Present Condition on the Marble Revetment in Hagia Sophia

Iwade¹

2004

Transactions of AIJ

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Notes on the Work of the Byzantine Institute in Istanbul: 1957-1959; The Conservation of a Byzantine Fresco Discovered at Etyemez, Istanbul

Cited by 3 publications

References 0 publications

“The Gates of Eternal Life”: Metamorphosis and Performativity in Middle to Late Byzantine Sculpted Church Doors (with a Case Study of a Wallachian Wooden Door)

“The Gates of Eternal Life”: Metamorphosis and Performativity in Middle to Late Byzantine Sculpted Church Doors (with a Case Study of a Wallachian Wooden Door)

The Porta speciosa of Esztergom •

A Preliminary. Study of the Present Condition on the Marble Revetment in Hagia Sophia

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