Spätantike und byzantinische Elfenbeinbildwerke im Diskurs

Bühl, Gudrun; Cutler, Anne; Effenberger, Arne

doi:10.29091/9783954908509

Cited by 4 publications

(5 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…I turn now to the assumption that the Halberstadt honorand must have been a western consul because Roma, not Constantinopolis, is shown as the ‘dominant’ personification in the top register of each panel. Bühl's indispensable monograph, Roma und Constantinopolis (1995), collects and illustrates all known representations of the two personifications and analyses them with skill and learning. But more remains to be said about tableaux where both appear together.…”

Section: Roma and Constantinopolis: The Numismatic Evidencementioning

confidence: 99%

“… 57 The Vatican gold-glass (Toynbee 1953: 268; Bühl 1995: 147–8) is an inexpensive private bowl carrying the banal legend ‘anima / dulcis pie z(eses)’, ‘sweet soul, drink (to) live’ (Adams 2003: 407). It therefore provides no sort of parallel for a consular diptych, where the personifications perform a very specific, public function for an important person on an important occasion.…”

mentioning

confidence: 99%

“… 71 For reproductions and discussion of the subtle differences between all these coins, Bühl 1995: 44–75.…”

mentioning

confidence: 99%

“… 105 The female figure in diadem and trabea holding the fasces inside a medallion on the Paris diptych of Philoxenus, eastern consul in 525, has sometimes been identified as Constantinopolis, sometimes as Roma (Delbrueck 1929: 145–6; Bühl 1995: 218–20). The fact that (s)he is wearing neither helmet nor mural crown supports neither identification, though the lack of headgear may be due to constraints of space within the medallion.…”

mentioning

confidence: 99%

See 3 more Smart Citations

City Personifications and Consular Diptychs

Cameron

2015

J. Rom. Stud.

View full text Add to dashboard Cite

This paper takes as its point of departure two much discussed fifth-century artifacts, an uninscribed and undated consular diptych in Halberstadt (Fig. 9), and the inscribed and (on the face of it) exactly dated consular missorium of Ardabur Aspar in Florence (Fig. 15), both hitherto presumed issued by western consuls and manufactured in western workshops. After calling into question the established criteria for distinguishing western from eastern diptychs, I propose a new set of criteria and a new date and interpretation of both objects, mainly in the light of a more comprehensive examination of the iconography of city personifications, in literature as well as art.

show abstract

Section: Roma and Constantinopolis: The Numismatic Evidencementioning

confidence: 99%

mentioning

confidence: 99%

“… 71 For reproductions and discussion of the subtle differences between all these coins, Bühl 1995: 44–75.…”

mentioning

confidence: 99%

mentioning

confidence: 99%

See 2 more Smart Citations

City Personifications and Consular Diptychs

Cameron

2015

J. Rom. Stud.

View full text Add to dashboard Cite

show abstract

“…In particular, Frantovà notes that the figures of the apostles in the mosaics and the human 36 In particular, Volbach links the pyxides of the Museo della Cattedrale di Pesaro (6th century), the Musei Civici of Bologna and the Museo dell'Alto Medioevo at Rome (6th century) to Ravenna (Volbach 1977, 14, 20, 33, 49-50). For these group of pyxides see also : Engemann 1987, 176-182;Cutler 1993, 178-179;Bühl 2008. For the production of pyxides at Alexandria: Rodziewicz 2016, 87-91.…”

mentioning

confidence: 99%

5 Ivory Production: Commerce, Culture and Power

Carile¹

2020

Ravenna and the Traditions of Late Antique and Early Byzantine Craftsmanship

View full text Add to dashboard Cite

Since the 19th century scholars have claimed the existence of a school of ivory craftsmanship in late antique Ravenna. Following such theories, with the settlement of the western court in Ravenna in 402 a school of ivory carving produced plaques and pyxides that were exported outside the western capital. Later, in the 6th century, artists with different provenance came to Ravenna and there created consular and religious diptychs. Scholars' arguments were based upon iconographic and stylistic analyses, aimed at discovering the chronology and places of origin for a number of late antique ivories. Yet there is no evidence for the existence of an ivory atelier in Ravenna based on the lack of archaeological and textual support.This paper attempts to demonstrate that Ravenna could plausibly have been a location for production of ivory objects for its centrality in the politics and commercial routes of the late antique Mediterranean. Furthermore, by analyzing the imagery of some late antique ivory carvings in relation to the visual culture of late antique Ravenna, this contribution will put forward a few hypotheses about specific ivory artifacts that may have had a major role as expressions of the culture and religion of the people leaving in late antique Ravenna.It was at the end of the 19th century that Georg Stuhlfauth first postulated the existence of a school of ivory craftsmanship in late antique Ravenna. 1 Almost a century later, Wolfgang Fritz Volbach developed the argument further. According to Volbach, after 402 the settlement of the western court in Ravenna would have resulted in the creation of a school of ivory carving producing plaques and pyxides. Later, in the 6th century, increasing ties with Constantinople brought the arrival of artists with different provenance, who may have created consular and religious diptychs and even Maximian's chair. 2 Stuhlfauth's, Volbach's, and other scholars' arguments were based upon iconographic and stylistic analyses, aimed at discovering the chronology and places of origin for a number of late antique ivories. 3 Friedrich Wilhelm Deichmann applied analogous methodology and attempted to answer the same questions, yet he emphasized that there is no evidence for the existence of an ivory atelier in Ravenna

show abstract

Ivories and Steatites

Connor¹

2021

The Oxford Handbook of Byzantine Art and Architecture

View full text Add to dashboard Cite

Objects carved from elephant ivory and steatite (soapstone) have been identified with Byzantine culture from Late Antiquity to the Late Byzantine period. Mainly relief icons, and ceremonial and liturgical objects, most are small enough to be held in the hand or worn as amulets. No other organic material carried as high an intrinsic and symbolic value as elephant ivory, and its increasing rarity in the Middle Byzantine era lent carved objects especially high status. When the trade ceased in the eleventh century, steatites took on greater importance. Evidence of polychromy on ivories has altered traditional perceptions of the medium and its aesthetic. Technical analyses and interdisciplinary approaches have the potential to shed new light on long-held issues.

show abstract

Spätantike und byzantinische Elfenbeinbildwerke im Diskurs

Cited by 4 publications

References 0 publications

City Personifications and Consular Diptychs

City Personifications and Consular Diptychs

5 Ivory Production: Commerce, Culture and Power

Ivories and Steatites

Contact Info

Product

Resources

About