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Bizans: Yapılar, Meydanlar Yaşamlar, Fransız Ulusal Bilimsel Araştırma Merkezi’ne (CNRS) bağlı olarak İstanbul Fransız Anadolu Araştırmaları Enstitüsü’nde (IFEA) düzenlenen konferanslar dizisinin ürünü. Ocak 2004-Haziran 2007 tarihleri arasında gerçekleştirilen bu konferanslar, konularının uzmanı tarihçiler, arkeologlar, sanat tarihçileri tarafından verildi. Jean Pierre Sodini/ Konstantinopolis, bir megapolün doğuşu; Elisabeth Malamut/1. Aleksios Komnenos döneminde Konstantinopolis; Marie-France Auzépy/ Konstantinopolis’in Hipodromu; Alessandra Ricci/Bizans’ta kır sevgisi, Konstantinopolis’in Anadolu yakasındaki banliyösü; Pierre Chuvin/ Ayasofya yeniyken bazilikanın bezemeleri; Marie-France Auzépy/ Konstantinopolis’in siyasal ve dinsel yaşamında Ayasofya’nın yeri, Michel Kaplan/Büyük bir imparatorluk vakfı: Pantokrator (Zeyrek Camii); Catherine Jolivet-Lévy/ Hora Manastırının (Kariye Camii) bezemeleri; Paul Magdalino/ Paleologoslar döneminde yaşanan Bizans Rönesans’ı: Theodoros Metohites ve Kariye Manastırı; Stefanos Yerasimos/ Kostantiniye kiliselerinden İstanbul camilerine bir değişimin tarihi; Brigitte Pitarakis/ İmparatorluğun mücevherleri ve Konstantinopolis’in kuyumcuları; Nano Chadzidakis/ Konstantinopolis’in ikonaları; Michel Balivet/1391’de Ankara’da bir ilahiyat tartışması: Hacı Bayram Veli ve II. Manuel Paleologos; Véronique François/ İyileşmek ve iblislerden korunmak: Konstantinopolis’ten İstanbul’a toprak kaplar; Marie-France Auzépy/ Konstantinopolis ve Araplar; Michel Balivet/ Konstantinopolis’te Türkler; Peter Schreiner/ Konstantinopolis’te seyyahlar ve rehberleri; Jean-Claude Cheynet/ Bizans mühürleri, bir toplumun görüntüleri; Christophe Giros/ Bizanslılar ve Savaş; Nicole Thierry/ 10, Yüzyılda kral kiliseleri: Ahtamar, İşhan, Tokalı. L’histoire médiévale jouit depuis quelques années en Turquie d’un préjugé très favorable auprès du public et l’intérêt pour la civilisation byzantine s’exprime par la présence grandissante d’universitaires turcs qui…

History & Archaeology --- History --- art --- art byzantin --- architecture --- mimarlık --- Bizans uygarlığı --- sanat tarihi

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The Dumbarton Oaks Papers (DOP) were founded in 1941for the publication of articles relating to late antique, early medieval, and Byzantine civilization in the fields of art and architecture, history, archaeology, literature, theology, and law. Publication was suspended during World War II, and resumed in 1946 as collections of occasional papers, primarily by faculty members resident at the research institute. At first, DOP appeared irregularly, but in the mid-1950s it began to be published on an annual basis. It now includes articles by a wide array of international Byzantinists and features papers from annual symposia, miscellaneous articles, and reports on fieldwork projects sponsored by Dumbarton Oaks. Volumes currently average 300-400 pages.Since 1999 (Vol. 53) DOP has been made available in digital form through the Dumbarton Oaks website at http://www.doaks.org/resources/publications/dumbarton-oaks-papers

Art, Medieval --- Art, Byzantine --- Art, Byzantine. --- Art, Medieval. --- Medieval art --- Byzantine art --- Christian art and symbolism --- Medieval --- Visual Arts - General --- Art médiéval --- Art byzantin

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This is the first book to explore the emergence and function of a novel pictorial format in the Middle Ages, the vita icon, which displayed the magnified portrait of a saint framed by scenes from his or her life. The vita icon was used for depicting the most popular figures in the Orthodox calendar and, in the Latin West, was deployed most vigorously in the service of Francis of Assisi. This book offers a compelling account of how this type of image embodied and challenged the prevailing structures of vision, representation and sanctity in Byzantium and among the Franciscans in Italy between the eleventh and thirteenth centuries. Paroma Chatterjee uncovers the complexities of the philosophical and theological issues that had long engaged both the medieval East and West, such as the fraught relations between words and images, relics and icons, a representation and its subject, and the very nature of holy presence.

Painting --- Iconography --- anno 1100-1199 --- anno 1200-1299 --- anno 1000-1099 --- Istanbul [city] --- Italy --- Christian saints in art --- Vita icons --- Painting, Byzantine --- Painting, Italian --- Saints chrétiens dans l'art --- Icônes biographiques --- Peinture byzantine --- Peinture italienne --- History. --- Histoire --- Francis, --- Art --- Saints chrétiens dans l'art --- Icônes biographiques --- Art. --- Biographical icons --- Icons --- Icons [Byzantine ] --- Icon painting --- Saints --- Iconographie --- Icônes --- Art byzantin --- Italie

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En publiant en français cet ouvrage, dont une première version a d’abord paru en grec sous les auspices de l’Académie d’Athènes, l’École française d’Athènes fait connaître les recherches d’une grande spécialiste du Péloponnèse franc et byzantin, Aspasia Louvi-Kizi, dont le travail révèle toute la complexité des formes architecturales, des emprunts et des modèles repérables dans les monuments de la ville byzantine et médiévale de Mistra.Parmi les créations architecturales du couple de despotes, Manuel Cantacuzène (1349-1380) et son épouse Isabelle de Lusignan, qui a façonné Mistra en un centre de pouvoir, Aspasia Louvi-Kizi analyse deux de ses monuments emblématiques, les monastères de la Péribleptos et de la Pantanassa, proposant une nouvelle histoire de leur construction.Des éléments de l’art franc, c’est-à-dire occidental ou gothique, étrangers à la tradition byzantine locale, ont été incorporés dans leur architecture. Distincts de la production franco-byzantine de la principauté voisine d’Achaïe, ces éléments gothiques de Mistra ont plutôt à voir avec l’art occidental de Chypre ; la contribution d’Isabelle à leur introduction dans le Péloponnèse est alors déterminante. Ces éléments occidentaux, qui ornent les clochers et les tours sur les façades, sont combinés avec les éléments byzantins et constituent une véritable expression de la politique pro-occidentale du couple de despotes, en symbiose avec la politique impériale de Constantinople à l’époque.Dans le monde fragmenté et multipolaire de la Méditerranée orientale à la veille de la conquête ottomane, ce livre met ainsi en lumière le rôle de Mistra en tant que centre régional de pouvoir et contribue à sa réinterprétation.En poursuivant ce dialogue international sur un site de renom, l’École française d’Athènes dit aussi son attachement aux regards croisés qui font émerger la complexité des échanges à l’oeuvre dans cette histoire d’un monde grec en transition.

Arts & Humanities --- Architecture --- Art --- Cultural studies --- art byzantin --- Empire byzantin --- croisade --- art gothique --- Lusignan --- Cantacuzène --- art chrétien --- Byzantine art --- Byzantine Empire --- crusade --- Gothic art --- Christian art --- arte bizantino --- Imperio bizantino --- cruzada --- arte gótico --- arte cristiano --- arte bizantina --- Impero bizantino --- crociata --- Cantacuzene --- arte cristiana --- Byzantinische Kunst --- Byzantinische Reich --- Kunst der Gotik --- Christliche Kunst

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In the fourth century the idea arose that the Cross on which Christ was crucified had been found by Helena, mother of Emperor Constantine. Thus began a legend that would grow and flourish throughout the Middle Ages and cause the diffusion of countless splinters of holy wood. And where there is wood, there was once a tree. Could it be that the Cross was made from that most noble species, the Tree of Life? So, gathering characters along the way, the legend evolved into a tale that stretches from the Creation to the End of Time. A Heritage of Holy Wood is the first reconstruction of the iconographic and literary tradition of the Legend of the True Cross. Its broad scope encompasses relic cults, pilgrimages, travellers' tales and the Tree of Life and involves Church Fathers, crusader kings, Teutonic Knights and mendicant orders, all of which influenced the legend's depiction from its earliest representation in manuscripts, reliquaries and altarpieces, to the great monumental cycles of the high Middle Ages. If the holy wood was the medium of medieval memory, A Heritage of Holy Wood reveals the growth rings of fifteen centuries of imagery.

Holy Cross --- Art, Byzantine. --- Art, Medieval. --- Legends --- Art [Byzantine ] --- Art [Medieval ] --- Art byzantin --- Art médiéval --- Byzantijnse kunst --- Byzantine art --- Kunst [Byzantijnse ] --- Kunst [Middeleeuwse ] --- Medieval art --- Middeleeuwse kunst --- Iconography --- Christian church history --- Christian special devotions --- anno 500-1499 --- 091.31:7.04 --- 246 --- Academic collection --- 091.31:7.04 Verluchte handschriften: iconografie --- Verluchte handschriften: iconografie --- Christelijke kunst en symbolisme --- Religion Art in Christianity --- Art, Byzantine --- Art, Medieval --- Sainte Croix --- Art médiéval --- Art --- Légendes --- Christian art and symbolism --- Cross --- Feast of the Cross --- Art. --- Holy Cross - Legends - Art.