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Book Synopsis
In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.

Sources for Byzantine Art History Volume 3 The Visual Culture of Later Byzantium 1081âc.1350

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    A Hardback by Foteini Spingou

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      View other formats and editions of Sources for Byzantine Art History Volume 3 The Visual Culture of Later Byzantium 1081âc.1350 by Foteini Spingou

      Publisher: Cambridge University Press
      Publication Date: Publication Date: 21/04/2022
      ISBN13: 9781108483056, 978-1108483056
      ISBN10:
      Also in:
      History of art

      Description

      Book Synopsis
      In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.

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