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On the Presentation of Byzantine Art in Virtual Environments
2011 Third International Conference on Games and Virtual Worlds for Serious Applications, 2011 This paper deals with a main theoretical research question which asks how to best represent Byzantine art in virtual environments. The two options of photo realistic and non photo realistic rendering are researched in the background of topics related to digital reproduction of Byzantine art, Byzantine art aesthetics and system evaluation studies in ...
Andreas Lanitis
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, 2021 Abstract The term magic has been long understood as problematic. Studies of Byzantine magic have rapidly developed over the past several decades, and have come to suggest various ways of understanding the term. Two Early Byzantine amulets, serving as case studies, display conventional linguistic structures, including persuasive analogy ...
Tuerk-Stonberg, Jacquelyn
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Breastfeeding in Byzantine icon art
Archives of Gynecology and Obstetrics, 2012The Mary Galaktotrophousa is a representation of the Virgin breastfeeding the infant Jesus.The origin of this theme goes back to Antiquity when images of gods feeding humans were considered as an example that should be imitated by human. In the early days of Christianity, the Fathers of the Church recognized on the feature of Mary the ideal exemplary ...
Ioannis D, Gkegkes +2 more
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The Byzantine Arts and Byzantine Literature
2021Abstract This chapter examines the relationships between literary and visual forms in Byzantium. Both in the Early and in the later Byzantine periods there were clear parallels between the ways that literary and visual compositions were structured, whether through the rhetorical techniques of repetition, variation, and acrostic in Early ...
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2021
Abstract Byzantine art preferred chameleonic materials such as gold, glass, jewels, and variegated marbles with which to make images and shape architectural space. When set in shifting diurnal light and the flicker of candles, the variegated surfaces of the icon and ecclesiastical interiors produced a spectacle of shifting appearances ...
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Abstract Byzantine art preferred chameleonic materials such as gold, glass, jewels, and variegated marbles with which to make images and shape architectural space. When set in shifting diurnal light and the flicker of candles, the variegated surfaces of the icon and ecclesiastical interiors produced a spectacle of shifting appearances ...
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“BYZANTINE” ART IN Post-Byzantine SOUTH Italy?
Common Knowledge, 2012Art historians have long viewed southern Italy, especially the Salento region in Apulia, as a Byzantine artistic province even centuries after Byzantine rule ended there in c. 1070. The Orthodox monastery of Santa Maria di Cerrate, near Lecce, is widely considered to possess some of the region’s “most Byzantine” paintings (twelfth to fourteenth ...
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Byzantine Art and Architecture
2014Byzantine art and architecture may be defined as the artistic production of the eastern Mediterranean region that developed into an orthodox set of societies after the relocation of the Roman capital to Constantinople in 330 ce. While there is a debate about the use of the term “Roman” for emperors as late as Justinian (r.
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Living on the Byzantine Borders of Western Art
Gesta, 1996In general surveys of art history in current use, Byzantine art has been separated from Western Medieval art by several strategies. Most often Early Christian and Byzantine art follows Roman art and precedes Islamic art. Advancing as late as the sixteenth or seventeenth century in Orthodox and Islamic countries, the surveys turn back to early medieval ...
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The Power of Symbolism in Byzantine Art
1998Our deeply visual culture today shows the fascination humanity has with the power of images. This paper intends to discuss the use and importance of images within the context of Byzantine art. The works produced in the service of the Eastern Orthodox Church still employed today, show a remarkable synthesis of doctrine, theology and aesthetics.
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