- Medieval Art, Art History, Illumination (Manuscripts, Books), Byzantine Architecture, Byzantine Iconography, Byzantine Studies, and 20 moreMedieval illuminated manuscripts, Byzantine Manuscripts Illumination, Iconography, Manuscripts (Medieval Studies), Byzantium, Byzantine art, Byzantine History, Constantinople, Spolia, Crusades, Late Gothic Painting, Byzantine Mosaics, Early Christian Mosaics, Romanesque Art, Patronage (History), Patronage and collecting, Patronage (Medieval Studies), Archives, Islam and Christianity: relations and exchange of ideas, and Jewish-Christian-Muslim relations in the Middle Agesedit
New Exhibition: “Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960–2000” opening in Istanbul Koç University’s Research Center for Anatolian Civilizations (ANAMED) and Sapienza University of Rome are proud to... more
New Exhibition: “Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960–2000” opening in Istanbul
Koç University’s Research Center for Anatolian Civilizations (ANAMED) and Sapienza University of Rome are proud to present the result of their collaborative efforts: ‘Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960–2000.’ This exhibition focuses on the research on Byzantine art carried out by Italian scholars in the second half of the twentieth century and examines its mutual relationship with the history of Byzantine art historiography in Turkey. Featuring a selection of previously unpublished archival photographs of extraordinary monuments preserved in Anatolia, the exhibition can be visited at ANAMED in Istanbul from 1 June to 31 December 2018.
Between 1966 and 2000, Italian art historians traveled across the historical regions of Turkey in order to explore Byzantine monuments and works of art. These trips resulted in a substantial number of photographs, later collected in the Center for Documentation of Byzantine Art History of Sapienza (CDSAB). Curated by Livia Bevilacqua and Giovanni Gasbarri, the exhibition draws extensively on the photographs and other archival materials of the CDSAB, focusing especially on four historical regions: eastern Turkey; Lycia; Mesopotamia and Tur ‘Abdin; Cilicia and Isauria. Visitors are invited to follow this unique route from Rome to the East, to rediscover the remains of a lost empire and to step into the scenic landscape that surrounds them.
In conjunction with the opening, ANAMED will publish a bilingual volume under the same title, edited by Bevilacqua and Gasbarri and translated by Yiğit Adam. The book includes all of the photographs on display and features contributions by the curators and by other prominent specialists in Byzantine art and archaeology, such as Alessandra Guiglia, Antonio Iacobini, Engin Akyürek, Claudia Barsanti, Andrea Paribeni, Enrico Zanini and Lorenzo Riccardi.
Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960-2000
1 June–31 December 2018
ANAMED Arched Gallery, Floor -1
Curators: Livia Bevilacqua, Giovanni Gasbarri
ANAMED Gallery Curator: Şeyda Çetin
Exhibition Design: Emrah Çiftçi, BAREK
For further information: anamed.ku.edu.tr/en
#PicturingALostEmpire
Koç University’s Research Center for Anatolian Civilizations (ANAMED) and Sapienza University of Rome are proud to present the result of their collaborative efforts: ‘Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960–2000.’ This exhibition focuses on the research on Byzantine art carried out by Italian scholars in the second half of the twentieth century and examines its mutual relationship with the history of Byzantine art historiography in Turkey. Featuring a selection of previously unpublished archival photographs of extraordinary monuments preserved in Anatolia, the exhibition can be visited at ANAMED in Istanbul from 1 June to 31 December 2018.
Between 1966 and 2000, Italian art historians traveled across the historical regions of Turkey in order to explore Byzantine monuments and works of art. These trips resulted in a substantial number of photographs, later collected in the Center for Documentation of Byzantine Art History of Sapienza (CDSAB). Curated by Livia Bevilacqua and Giovanni Gasbarri, the exhibition draws extensively on the photographs and other archival materials of the CDSAB, focusing especially on four historical regions: eastern Turkey; Lycia; Mesopotamia and Tur ‘Abdin; Cilicia and Isauria. Visitors are invited to follow this unique route from Rome to the East, to rediscover the remains of a lost empire and to step into the scenic landscape that surrounds them.
In conjunction with the opening, ANAMED will publish a bilingual volume under the same title, edited by Bevilacqua and Gasbarri and translated by Yiğit Adam. The book includes all of the photographs on display and features contributions by the curators and by other prominent specialists in Byzantine art and archaeology, such as Alessandra Guiglia, Antonio Iacobini, Engin Akyürek, Claudia Barsanti, Andrea Paribeni, Enrico Zanini and Lorenzo Riccardi.
Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960-2000
1 June–31 December 2018
ANAMED Arched Gallery, Floor -1
Curators: Livia Bevilacqua, Giovanni Gasbarri
ANAMED Gallery Curator: Şeyda Çetin
Exhibition Design: Emrah Çiftçi, BAREK
For further information: anamed.ku.edu.tr/en
#PicturingALostEmpire
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Photography, Armenian Studies, Anatolian Studies, and 37 moreAnatolian Archaeology, Early Christianity, Anatolian History, Mediterranean Studies, Turkish and Middle East Studies, Byzantine Studies, Mediterranean, Turkey, Landscape Photography, Byzantine History, Armenian Culture, Byzantine Architecture, Byzantine Archaeology, Medieval Architecture, Historiography (in Art History), Architecture And Photography, Documentary Photography, Travel Literature, Byzantine monasticism, Cilicia, Medieval Art, Early Christian Art, Anatolian Archaeology (Archaeology), Archaeological photography, Mediterranean archaeology, Byzantium, Medieval Mediterranean Art and Architecture, Armenia, Byzantine historiography, Byzantine Architectural Sculpture, Early Christian Architecture, Mesopotamia, Late Roman and early Byzantine fortifications, Byzantine art, Field Trip, Armenian architecture, and Byzantine history and archaeology
Fotografare Bisanzio affronta il tema, sinora inesplorato, degli archivi italiani che custodiscono immagini fotografiche relative all’arte di Bisanzio e dell’Oriente mediterraneo. Tali raccolte iniziarono a formarsi già alla fine... more
Fotografare Bisanzio affronta il tema, sinora inesplorato, degli archivi italiani che custodiscono immagini fotografiche relative all’arte di Bisanzio e dell’Oriente mediterraneo. Tali raccolte iniziarono a formarsi già alla fine dell’Ottocento e furono avviate sulla scia di ricerche, missioni e campagne archeologiche di istituzioni e di singoli studiosi. Si tratta di un patrimonio molto prezioso, che offre una testimonianza unica sull’afterlife dei monumenti, la cui integrità spesso è stata alterata o è andata irrimediabilmente perduta a causa di interventi di ripristino, cataclismi naturali e guerre. Di pagina in pagina, di fotografia in fotografia, il lettore viene accompagnato – sulle orme di celebri personalità italiane e straniere – in un itinerario che si muove in una latitudine geografica vastissima: dai Balcani all’Anatolia, dal Caucaso alla Siria, dall’Egitto all’Italia. Il volume, oltre a presentare al pubblico giacimenti visivi di grande importanza storica, richiama l’attenzione su un tema generale di stringente attualità: il destino dei documenti su supporti fisici nell’era digitale e la necessità della loro salvaguardia come oggetti imprescindibili della memoria culturale.
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Koç University’s Research Center for Anatolian Civilizations (ANAMED) and Sapienza University of Rome are proud to present the result of their collaborative efforts: ‘Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia,... more
Koç University’s Research Center for Anatolian Civilizations (ANAMED) and Sapienza University of Rome are proud to present the result of their collaborative efforts: ‘Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960–2000.’ This exhibition focuses on the research on Byzantine art carried out by Italian scholars in the second half of the twentieth century and examines its mutual relationship with the history of Byzantine art historiography in Turkey. Featuring a selection of previously unpublished archival photographs of extraordinary monuments preserved in Anatolia, the exhibition can be visited at ANAMED in Istanbul from 1 June to 31 December 2018.
Between 1966 and 2000, Italian art historians traveled across the historical regions of Turkey in order to explore Byzantine monuments and works of art. These trips resulted in a substantial number of photographs, later collected in the Center for Documentation of Byzantine Art History of Sapienza (CDSAB). Curated by Livia Bevilacqua and Giovanni Gasbarri, the exhibition draws extensively on the photographs and other archival materials of the CDSAB, focusing especially on four historical regions: eastern Turkey; Lycia; Mesopotamia and Tur ‘Abdin; Cilicia and Isauria. Visitors are invited to follow this unique route from Rome to the East, to rediscover the remains of a lost empire and to step into the scenic landscape that surrounds them.
In conjunction with the opening, ANAMED published a bilingual volume under the same title, edited by Bevilacqua and Gasbarri and translated by Yiğit Adam. The book includes all of the photographs on display and features contributions by the curators and by other prominent specialists in Byzantine art and archaeology, such as Alessandra Guiglia, Antonio Iacobini, Engin Akyürek, Claudia Barsanti, Andrea Paribeni, Enrico Zanini and Lorenzo Riccardi.
Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960-2000
1 June–31 December 2018
ANAMED Arched Gallery, Floor -1
Curators: Livia Bevilacqua, Giovanni Gasbarri
ANAMED Gallery Curator: Şeyda Çetin
Exhibition Design: Emrah Çiftçi, BAREK
For further information: anamed.ku.edu.tr/en
#PicturingALostEmpire
Between 1966 and 2000, Italian art historians traveled across the historical regions of Turkey in order to explore Byzantine monuments and works of art. These trips resulted in a substantial number of photographs, later collected in the Center for Documentation of Byzantine Art History of Sapienza (CDSAB). Curated by Livia Bevilacqua and Giovanni Gasbarri, the exhibition draws extensively on the photographs and other archival materials of the CDSAB, focusing especially on four historical regions: eastern Turkey; Lycia; Mesopotamia and Tur ‘Abdin; Cilicia and Isauria. Visitors are invited to follow this unique route from Rome to the East, to rediscover the remains of a lost empire and to step into the scenic landscape that surrounds them.
In conjunction with the opening, ANAMED published a bilingual volume under the same title, edited by Bevilacqua and Gasbarri and translated by Yiğit Adam. The book includes all of the photographs on display and features contributions by the curators and by other prominent specialists in Byzantine art and archaeology, such as Alessandra Guiglia, Antonio Iacobini, Engin Akyürek, Claudia Barsanti, Andrea Paribeni, Enrico Zanini and Lorenzo Riccardi.
Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960-2000
1 June–31 December 2018
ANAMED Arched Gallery, Floor -1
Curators: Livia Bevilacqua, Giovanni Gasbarri
ANAMED Gallery Curator: Şeyda Çetin
Exhibition Design: Emrah Çiftçi, BAREK
For further information: anamed.ku.edu.tr/en
#PicturingALostEmpire
Research Interests: Archaeology, Art History, Late Antique and Byzantine History, Late Antique and Byzantine Studies, Architecture, and 41 morePhotography, Armenian Studies, Anatolian Studies, Medieval Studies, Landscape Architecture, Anatolian Archaeology, Late Antique Archaeology, Early Christianity, Mediterranean Studies, Architectural History, Turkish and Middle East Studies, Byzantine Studies, Turkey, Late Antiquity, Byzantine History, Byzantine Architecture, Byzantine Archaeology, Medieval Architecture, Historiography (in Art History), Architecture And Photography, Modern Turkey, Travel Literature, Medieval Art, Late Antique Art and Archaeology, Early Christian Art, Mediterranean archaeology, Byzantium, Medieval Mediterranean Art and Architecture, Byzantine historiography, History of architecture, Early Christian Architecture, Early Christian Archaeology, Late Antiquity and Byzantium (History and Art), Paleochristian and Late Antique Archaeology, Mesopotamia, Late Roman and early Byzantine fortifications, Byzantine art, Field Trip, Field Study, Armenian architecture, and Byzantine history and archaeology
http://www.campisanoeditore.it/schede/0094.html. During the rule of the Macedonian dynasty (867-1025), the Byzantine aristocracy appears to be particularly active in its artistic patronage. Thus, churches and palaces are built and... more
http://www.campisanoeditore.it/schede/0094.html.
During the rule of the Macedonian dynasty (867-1025), the Byzantine aristocracy appears to be particularly active in its artistic patronage. Thus, churches and palaces are built and decorated with paintings and mosaics, luxurious vessels are donated, and precious manuscripts are illuminated at their command. The book focuses on Constantinople, Greece and Asia Minor, where a number of works, realized in that period, have survived; others are recorded in written sources, the latter being often so accurate as to allow us to clearly imagine their original appearance. This volume tackles a selection of case studies linked to the patronage of high officials of the Byzantine Empire during the time span between the ascent to the throne of Basil I and the death of Basil II. These specimens are analyzed both individually and in relation to one another, against the background of the “Renaissance” of Byzantine culture, which flourished after the end of Iconoclasm and to which the aristocrats highly contributed. In addition to well known personalities, other are referred to, whose identities are more elusive; nonetheless, their “intellectual portrait” is outlined in the light of their works. These offer the opportunity to discuss crucial problems, such as their culture, their self-representation, and their artistic models. This work takes an unusual point of view, tracing a historical and social cross-section of Byzantine art one century before and immediately after the year 1000.
During the rule of the Macedonian dynasty (867-1025), the Byzantine aristocracy appears to be particularly active in its artistic patronage. Thus, churches and palaces are built and decorated with paintings and mosaics, luxurious vessels are donated, and precious manuscripts are illuminated at their command. The book focuses on Constantinople, Greece and Asia Minor, where a number of works, realized in that period, have survived; others are recorded in written sources, the latter being often so accurate as to allow us to clearly imagine their original appearance. This volume tackles a selection of case studies linked to the patronage of high officials of the Byzantine Empire during the time span between the ascent to the throne of Basil I and the death of Basil II. These specimens are analyzed both individually and in relation to one another, against the background of the “Renaissance” of Byzantine culture, which flourished after the end of Iconoclasm and to which the aristocrats highly contributed. In addition to well known personalities, other are referred to, whose identities are more elusive; nonetheless, their “intellectual portrait” is outlined in the light of their works. These offer the opportunity to discuss crucial problems, such as their culture, their self-representation, and their artistic models. This work takes an unusual point of view, tracing a historical and social cross-section of Byzantine art one century before and immediately after the year 1000.
Research Interests: Byzantine Studies, Byzantine Architecture, Byzantine Iconography, Byzantine Manuscripts Illumination, Constantinople, and 12 moreByzantine Mosaics, Byzantine art, Byzantine Greece, Byzantine sculpture, Byzantine painting, Medieval Reliquaries, Macedonian Dynasty, Middle-Byzantine Period, Byzantine Enamel, Byzantine Cappadocia, Byzantine Patronage, and Liturgical objects
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The gilded silver staurotheke from the Treasury of St. Euphemia in Grado has been generally considered in scholarship to be a product of the Byzantine workshops of the early 7th century. Tradition has associated its arrival in the city on... more
The gilded silver staurotheke from the Treasury of St. Euphemia in Grado has been generally considered in scholarship to be a product of the Byzantine workshops of the early 7th century. Tradition has associated its arrival in the city on the Adriatic with the donation made by Emperor Heraclius (610-641) to the Grado patriarch Primigenius. While its provenance from the Byzantine East is indisputable, its chronological attribution must be reconsidered based on stylistic (as far as possible,
given the object’s poor state of preservation), typological, palaeographical and documentary considerations. A new investigation of medieval and modern archival sources, graphic evidence, and models is hereby conducted in order to reconstruct the possible primitive form of the reliquary and the arrangement of its precious contents. More broadly, this article aims to explore the cultural and artistic relations between Byzantium and Italy in the Middle Ages, through the events that tied the Patriarchate of Grado to Venice and the Eastern Mediterranean.
given the object’s poor state of preservation), typological, palaeographical and documentary considerations. A new investigation of medieval and modern archival sources, graphic evidence, and models is hereby conducted in order to reconstruct the possible primitive form of the reliquary and the arrangement of its precious contents. More broadly, this article aims to explore the cultural and artistic relations between Byzantium and Italy in the Middle Ages, through the events that tied the Patriarchate of Grado to Venice and the Eastern Mediterranean.
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Benché la storia propriamente bizantina della città sia circoscritta a circa due secoli, ovvero dalla metà del VI alla metà dell’VIII, il dialogo tra la Vecchia e la Nuova Roma non si interrompe mai, bensì prosegue lungo tutto il... more
Benché la storia propriamente bizantina della città sia circoscritta a circa due secoli, ovvero dalla metà del VI alla metà dell’VIII, il dialogo tra la Vecchia e la Nuova Roma non si interrompe mai, bensì prosegue lungo tutto il millennio medievale, manifestandosi in alcuni momenti con particolare evidenza e specifiche modalità. Il saggio offre una panoramica di quanto, di tale stretto rapporto, sopravvive tra le maglie della città attuale: dai monumenti architettonici impostati su modelli costantinopolitani alle iconografie ispirate a quelle d’Oriente, dai recuperi scultorei tardoantichi ai cicli musivi e pittorici realizzati da artisti bizantini o di formazione bizantina, senza trascurare le opere prelevate direttamente a Costantinopoli per abbellire gli edifici e le collezioni dell’Urbe.
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In 1966, a team of Rome-based architects and art historians led by Gèza de Francovich (1902-1996) inaugurated a series of field trips with the purpose of gaining first-hand knowledge of medieval Armenian architecture. These trips, funded... more
In 1966, a team of Rome-based architects and art historians led by Gèza de Francovich (1902-1996) inaugurated a series of field trips with the purpose of gaining first-hand knowledge of medieval Armenian architecture. These trips, funded by Sapienza University of Rome and the National Council of Research of Italy (CNR-Consiglio Nazionale delle Ricerche), resulted in a substantial number of photographs, a selection of which was displayed at a 1968 photographic exhibition in Rome, titled Architettura Medievale Armena. In the following decades, under the direction of Fernanda de’ Maffei (1917-2011), the Sapienza team continued to travel regularly in the territories of the Byzantine Near East, documenting art and architecture in Turkey, Syria, Greece, Israel, Jordan, and North Africa. The vast amount of material acquired during these explorations (mainly photographs, but also letters, notes, and travel diaries) was eventually collected in the CDSAB-Center for Documentation of Byzantine Art History, founded in 1996 by Mara Bonfioli. The Center is currently the repository for over 35,100 images (including photographs, maps, and drawings) and has become a remarkable resource for the study of early Christian and Byzantine monuments distributed throughout different areas of the eastern Mediterranean, many of which are currently inaccessible or very difficult to reach. Until now, however, this material has remained mostly unknown to scholars, as it has never been catalogued or published extensively. Only in 2018 two exhibitions held in Istanbul and in Rome (Picturing a Lost Empire. An Italian Lens on Byzantine Art in Anatolia, 1960-2000; La Siria bizantina nella documentazione fotografica dal Novecento a oggi) provided a first glimpse of the holdings of the Center. More recently, the research project Picturing a Lost Empire. An Archive for Byzantine Monumental Heritage in the Eastern
Mediterranean: The Centro di Documentazione di Storia dell’Arte Bizantina, Sapienza Università di Roma, led by Antonio Iacobini, offered the opportunity to expand the research initiated with the 2018 exhibitions. Since 2020, the Center’s photo archive has undergone a new campaign of hires digitization, metadata collection, and online publication. Starting with the photographs taken during the field trips led by Fernanda de’ Maffei in Cilicia and Isauria (in the 1980s and 1990s), the photographic material is currently being transferred into a digital database, with the aim of making the whole collection available through the institutional website of Sapienza University (https://saras.uniroma1.it/en/structures/cdsab). Transparencies, negatives, proof sheets, and printed photographs are organized in topographical order, focusing on the regions explored for over half a century by the Byzantine art historians of Sapienza. After each item is inventoried, catalogued, and digitized with the collaboration of the DigiLab Center of Sapienza, it is uploaded on the website and can be searched through a dedicated browser. The CDSAB digital collection is intended as an expanding repository. It includes other groups of pictures recently digitized (parts of the collections on Istanbul, Syria, and Mesopotamia) and photographs originally in digital format (such as those on Georgia), and it aspires to dialogue with similar initiatives on Byzantine art and architecture at international level.
Mediterranean: The Centro di Documentazione di Storia dell’Arte Bizantina, Sapienza Università di Roma, led by Antonio Iacobini, offered the opportunity to expand the research initiated with the 2018 exhibitions. Since 2020, the Center’s photo archive has undergone a new campaign of hires digitization, metadata collection, and online publication. Starting with the photographs taken during the field trips led by Fernanda de’ Maffei in Cilicia and Isauria (in the 1980s and 1990s), the photographic material is currently being transferred into a digital database, with the aim of making the whole collection available through the institutional website of Sapienza University (https://saras.uniroma1.it/en/structures/cdsab). Transparencies, negatives, proof sheets, and printed photographs are organized in topographical order, focusing on the regions explored for over half a century by the Byzantine art historians of Sapienza. After each item is inventoried, catalogued, and digitized with the collaboration of the DigiLab Center of Sapienza, it is uploaded on the website and can be searched through a dedicated browser. The CDSAB digital collection is intended as an expanding repository. It includes other groups of pictures recently digitized (parts of the collections on Istanbul, Syria, and Mesopotamia) and photographs originally in digital format (such as those on Georgia), and it aspires to dialogue with similar initiatives on Byzantine art and architecture at international level.
Research Interests:
Research Interests:
Fenestella is a scholarly and peer-reviewed open access journal. It is published by the Milano University Press, and powered by OJS 3. Fenestella publishes scholarly papers on medieval art and architecture, between Late Antiquity and c.... more
Fenestella is a scholarly and peer-reviewed open access journal. It is published by the Milano University Press, and powered by OJS 3.
Fenestella publishes scholarly papers on medieval art and architecture, between Late Antiquity and c. 1400, covering the Latin West, the Byzantine East and medieval Islam. The journal aims to consider medieval artefacts from within, as if seen through a fenestella confessionis, in order to throw light on iconography, function and liturgical practice and space.
Fenestella supports original research, favouring an inter- and trans-disciplinary approach arising from the horizon and methodology of art history. Papers on wide-ranging themes, critical reviews and studies of micro-topics are all welcome, as long as they contribute to debate at an international level.
Fenestella accepts papers in Italian, English, French, German and Spanish, with abstracts in English. Submissions that satisfy a preliminary review by the editorial staff are then peer-reviewed by anonymous reviewers. After copyediting each article is given a DOI number, to be immediately published and indexed. Articles published during a calendar year are collected in an annual issue.
Articles are freely accessible and shareable according to the license CC BY SA 4.0.
Fenestella publishes scholarly papers on medieval art and architecture, between Late Antiquity and c. 1400, covering the Latin West, the Byzantine East and medieval Islam. The journal aims to consider medieval artefacts from within, as if seen through a fenestella confessionis, in order to throw light on iconography, function and liturgical practice and space.
Fenestella supports original research, favouring an inter- and trans-disciplinary approach arising from the horizon and methodology of art history. Papers on wide-ranging themes, critical reviews and studies of micro-topics are all welcome, as long as they contribute to debate at an international level.
Fenestella accepts papers in Italian, English, French, German and Spanish, with abstracts in English. Submissions that satisfy a preliminary review by the editorial staff are then peer-reviewed by anonymous reviewers. After copyediting each article is given a DOI number, to be immediately published and indexed. Articles published during a calendar year are collected in an annual issue.
Articles are freely accessible and shareable according to the license CC BY SA 4.0.
Research Interests: Iconography, Early Medieval Archaeology, Medieval Archaeology, Sculpture, Byzantine Iconography, and 10 moreRomanesque Art, Medieval Art, Early Medieval Art, Romanesque architecture, Romanesque Sculpture, Medieval Iconography, Iconography and Iconology, Iconografia, Medieval Wall Paintings, and Medieval Sculpture
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This article aims to outline the relevance of archival sources in order to attempt a reconstruction of collections of precious objects and liturgical supplies of the Venetian churches in the eastern Mediterranean. This attempt to... more
This article aims to outline the relevance of archival sources in order to attempt a reconstruction of collections of precious objects and liturgical supplies of the Venetian churches in the eastern Mediterranean. This attempt to visualise such collections is carried out with the help of a digital database and brings about a number of crucial questions regarding the production and circulation of art works in the Middle Ages, which mirrors the interrelations between Byzantium and the West. A few case studies are presented here, spanning from the 13th to the 15th century.
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Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960-2000 ANAMED Arched Gallery, Floor -1 Curators: Livia Bevilacqua, Giovanni Gasbarri ANAMED Gallery Curator: Şeyda Çetin Exhibition Design: Emrah Çiftçi, BAREK For... more
Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960-2000
ANAMED Arched Gallery, Floor -1
Curators: Livia Bevilacqua, Giovanni Gasbarri
ANAMED Gallery Curator: Şeyda Çetin
Exhibition Design: Emrah Çiftçi, BAREK
For further information: anamed.ku.edu.tr/en
#PicturingALostEmpire
ANAMED Arched Gallery, Floor -1
Curators: Livia Bevilacqua, Giovanni Gasbarri
ANAMED Gallery Curator: Şeyda Çetin
Exhibition Design: Emrah Çiftçi, BAREK
For further information: anamed.ku.edu.tr/en
#PicturingALostEmpire
Research Interests: Late Antique and Byzantine Studies, Armenian Studies, Anatolian Studies, Medieval Studies, Medievalism, and 15 moreEarly Christianity, Mediterranean Studies, Byzantine Studies, Turkey, Byzantine Architecture, Byzantine Archaeology, Historiography (in Art History), Early Christian Art, Anatolian Archaeology (Archaeology), Mediterranean archaeology, Byzantium, Armenia, Early Christian Archaeology, Byzantine Art and Archaeolgy, and Byzantine art
Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960-2000 ANAMED Arched Gallery, Floor -1 Curators: Livia Bevilacqua, Giovanni Gasbarri ANAMED Gallery Curator: Şeyda Çetin Exhibition Design: Emrah Çiftçi, BAREK For... more
Picturing a Lost Empire: An Italian Lens on Byzantine Art in Anatolia, 1960-2000
ANAMED Arched Gallery, Floor -1
Curators: Livia Bevilacqua, Giovanni Gasbarri
ANAMED Gallery Curator: Şeyda Çetin
Exhibition Design: Emrah Çiftçi, BAREK
For further information: anamed.ku.edu.tr/en
#PicturingALostEmpire
ANAMED Arched Gallery, Floor -1
Curators: Livia Bevilacqua, Giovanni Gasbarri
ANAMED Gallery Curator: Şeyda Çetin
Exhibition Design: Emrah Çiftçi, BAREK
For further information: anamed.ku.edu.tr/en
#PicturingALostEmpire
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"Menschen, Bilder, Sprache, Dinge. Wege der Kommunikation zwischen Byzanz und dem Westen. 1: Bilder und Dinge". Falko Daim, Dominik Eher, Claudia Rapp (Hrsg.) Studien zur Ausstellung »Byzanz & der Westen. 1000 vergessene Jahre«... more
"Menschen, Bilder, Sprache, Dinge. Wege der Kommunikation zwischen Byzanz und dem Westen. 1: Bilder und Dinge". Falko Daim, Dominik Eher, Claudia Rapp (Hrsg.)
Studien zur Ausstellung »Byzanz & der Westen. 1000 vergessene Jahre«
Sonderdruck aus "Byzanz zwischen Orient und Okzident" Veröffentlichungen des Leibniz-WissenschaftsCampus Mainz
Mainz: Verlag des Römisch-Germanischen Zentralmuseums, 2018
Studien zur Ausstellung »Byzanz & der Westen. 1000 vergessene Jahre«
Sonderdruck aus "Byzanz zwischen Orient und Okzident" Veröffentlichungen des Leibniz-WissenschaftsCampus Mainz
Mainz: Verlag des Römisch-Germanischen Zentralmuseums, 2018
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In this paper I emphasise the relevance of the archival documents, in order to understand the extent of the circulation of art works in the Venetian ports of the Levant. A few examples are presented, chosen among those, stored in the... more
In this paper I emphasise the relevance of the archival documents, in order to understand the extent of the circulation of art works in the Venetian
ports of the Levant. A few examples are presented, chosen among those, stored in the Archivio di Stato di Venezia, concerning ecclesiastical
properties in Constantinople, Raidestos and Negroponte, in which liturgical vessels, textiles and manuscripts are mentioned. Such lists are very
concise, but some preliminary remarks can be drawn out of them, about the quality and provenance of the objects used and preserved in the
Venetian churches of the Outremer in the late Middle Ages.
ports of the Levant. A few examples are presented, chosen among those, stored in the Archivio di Stato di Venezia, concerning ecclesiastical
properties in Constantinople, Raidestos and Negroponte, in which liturgical vessels, textiles and manuscripts are mentioned. Such lists are very
concise, but some preliminary remarks can be drawn out of them, about the quality and provenance of the objects used and preserved in the
Venetian churches of the Outremer in the late Middle Ages.
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Research Interests: Spolia and Byzantine art
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Research Interests:
Il convegno Navigare nell’Italia bizantina. Arte, musei, mostre, web intende affrontare, in un’ottica multidisciplinare, il tema delle opere mobili bizantine custodite ed esposte al pubblico nei musei, nelle raccolte e nelle chiese... more
Il convegno Navigare nell’Italia bizantina. Arte, musei, mostre, web intende affrontare, in un’ottica multidisciplinare, il tema delle opere mobili bizantine custodite ed esposte al pubblico nei musei, nelle raccolte e nelle chiese d’Italia. L’iniziativa si inserisce nell’ambito del Progetto PRIN “Navigating through Byzantine Italy. An online catalog to study and enhance a submerged artistic heritage”, che fa capo alle Unità di Ricerca di quattro Atenei, Sapienza Università di Roma, Università degli Studi Roma Tre, Università IULM di Milano e Università del Salento, in collaborazione con la Direzione generale Musei del Ministero della Cultura e l’Associazione Italiana di Studi Bizantini.
Il patrimonio italiano di oggetti bizantini è ricchissimo e comprende testimonianze di varia origine che rientrano in un’ampia gamma di tipologie e tecniche: icone e pitture su tavola, sculture in marmo e legno, oreficerie, intagli in avorio, tessuti figurati e manoscritti miniati, fragmenta picta di mosaici e affreschi. Disseminati senza soluzione di continuità su tutto il territorio, questi manufatti d’arte – nonostante la loro eccezionale importanza storica – formano una ‘rete’ poco visibile. Presupposto fondamentale della ricerca è stata la creazione di un database per costruire virtualmente una sorta di ‘Museo Bizantino Italiano’ esplorabile online. Il progetto affianca agli obiettivi scientifici anche una finalità divulgativa, volta alla valorizzazione dei beni storico-artistici catalogati.
In occasione del convegno saranno presentati i risultati della ricerca e verranno discusse – attraverso una serie di casi studio – le principali questioni ad essa collegate. Le relazioni, affidate a specialisti italiani e internazionali, provenienti da Università, Soprintendenze e Musei, sono raggruppate in sette sezioni. L’incontro offrirà l’occasione per approfondire la conoscenza di un patrimonio di straordinario valore, ma per certi versi ancora oggi ‘sommerso’, espressione dei fenomeni di mobilità e scambio che coinvolsero il Mediterraneo lungo il Medioevo e oltre, legandosi alle dinamiche della storia religiosa, dell’evergetismo, della diplomazia, del commercio e del collezionismo. Particolare attenzione verrà riservata all’afterlife delle opere fino all’età contemporanea, dando spazio ai temi del restauro, degli allestimenti museali, delle mostre e del web.
Il patrimonio italiano di oggetti bizantini è ricchissimo e comprende testimonianze di varia origine che rientrano in un’ampia gamma di tipologie e tecniche: icone e pitture su tavola, sculture in marmo e legno, oreficerie, intagli in avorio, tessuti figurati e manoscritti miniati, fragmenta picta di mosaici e affreschi. Disseminati senza soluzione di continuità su tutto il territorio, questi manufatti d’arte – nonostante la loro eccezionale importanza storica – formano una ‘rete’ poco visibile. Presupposto fondamentale della ricerca è stata la creazione di un database per costruire virtualmente una sorta di ‘Museo Bizantino Italiano’ esplorabile online. Il progetto affianca agli obiettivi scientifici anche una finalità divulgativa, volta alla valorizzazione dei beni storico-artistici catalogati.
In occasione del convegno saranno presentati i risultati della ricerca e verranno discusse – attraverso una serie di casi studio – le principali questioni ad essa collegate. Le relazioni, affidate a specialisti italiani e internazionali, provenienti da Università, Soprintendenze e Musei, sono raggruppate in sette sezioni. L’incontro offrirà l’occasione per approfondire la conoscenza di un patrimonio di straordinario valore, ma per certi versi ancora oggi ‘sommerso’, espressione dei fenomeni di mobilità e scambio che coinvolsero il Mediterraneo lungo il Medioevo e oltre, legandosi alle dinamiche della storia religiosa, dell’evergetismo, della diplomazia, del commercio e del collezionismo. Particolare attenzione verrà riservata all’afterlife delle opere fino all’età contemporanea, dando spazio ai temi del restauro, degli allestimenti museali, delle mostre e del web.
Research Interests:
The number of Byzantine objects preserved in Italian museums and churches is one of the most eloquent indications of the continuous artistic exchanges that marked the relationship between Italy and the Eastern Roman Empire throughout the... more
The number of Byzantine objects preserved in Italian museums and churches is one of the most eloquent indications of the continuous artistic exchanges that marked the relationship between Italy and the Eastern Roman Empire throughout the Middle Ages. This thematic session will reassess the identity of Byzantine objects in the modern and contemporary world through the lens of the interaction of their original function with the processes of recontextualization that characterized their afterlife.
This workshop is organized within the framework of the National Research Project (PRIN) “Navigating through Byzantine Italy: An Online Catalog to Study and Enhance a Submerged Artistic Heritage”, funded by the Italian Ministry of Universities and Research.
This workshop is organized within the framework of the National Research Project (PRIN) “Navigating through Byzantine Italy: An Online Catalog to Study and Enhance a Submerged Artistic Heritage”, funded by the Italian Ministry of Universities and Research.
Research Interests: Art History, Late Antique and Byzantine Studies, Museum Studies, Medieval Studies, Mediterranean Studies, and 13 moreHistory of Museums, Medieval Archaeology, Byzantine Studies, Late Antiquity, Medieval Art, Collecting and Collections, Early Christian Art, Byzantium, Middle Ages, Medieval Diplomacy, Byzantine art, Byzantine and Post Byzantine Art, and Medieval Reliquaries
Research Interests:
Giornata di Studi online / Online Workshop Fotografare Bisanzio. Arte bizantina e dell’Oriente mediterraneo negli archivi italiani XVII Giornata di studi dell’Associazione Italiana di Studi Bizantini 15-16 ottobre 2021 a cura di... more
Giornata di Studi online / Online Workshop
Fotografare Bisanzio.
Arte bizantina e dell’Oriente mediterraneo negli archivi italiani
XVII Giornata di studi dell’Associazione Italiana di Studi Bizantini
15-16 ottobre 2021
a cura di Antonio Iacobini e Livia Bevilacqua
La Giornata Fotografare Bisanzio. Arte bizantina e dell’Oriente mediterraneo negli archivi italiani intende affrontare il tema, poco noto nella sua globalità, degli archivi presenti in Italia che conservano materiali fotografici relativi all’arte di Bisanzio e dell’Oriente mediterraneo, formatisi a seguito di ricerche di istituzioni e singoli studiosi, di missioni e campagne archeologiche a partire dall’inizio del Novecento. L’iniziativa si inserisce nell’ambito del Progetto di Ateneo Picturing a Lost Empire. An Archive for Byzantine Monumental Heritage in the Eastern Mediterranean: The Centro di Documentazione di Storia dell’Arte Bizantina, Sapienza Università di Roma.
La Giornata di studi si svolgerà in modalità online sulla piattaforma Zoom. Per partecipare è necessario registrarsi al seguente link: https://uniroma1.zoom.us/meeting/register/tZAscO6hrjstGdIusk30E7OiGrrGB0ZQ7wih
The workshop Fotografare Bisanzio. Arte bizantina e dell’Oriente mediterraneo negli archivi italiani aims to explore the Italian archives that preserve photographs of Byzantine and Eastern Mediterranean art and architecture, a network that is poorly known in its entirety. These collections have been forming from the beginnings of the twentieth century, following research led by individual scholars and academic institutions and during field trips and archeological excavations. The workshop is part of the Sapienza research project Picturing a Lost Empire. An Archive for Byzantine Monumental Heritage in the Eastern Mediterranean: The Centro di Documentazione di Storia dell'arte Bizantina, Sapienza Università di Roma.
The workshop will take place online via Zoom. Please register here: https://uniroma1.zoom.us/meeting/register/tZAscO6hrjstGdIusk30E7OiGrrGB0ZQ7wih
Fotografare Bisanzio.
Arte bizantina e dell’Oriente mediterraneo negli archivi italiani
XVII Giornata di studi dell’Associazione Italiana di Studi Bizantini
15-16 ottobre 2021
a cura di Antonio Iacobini e Livia Bevilacqua
La Giornata Fotografare Bisanzio. Arte bizantina e dell’Oriente mediterraneo negli archivi italiani intende affrontare il tema, poco noto nella sua globalità, degli archivi presenti in Italia che conservano materiali fotografici relativi all’arte di Bisanzio e dell’Oriente mediterraneo, formatisi a seguito di ricerche di istituzioni e singoli studiosi, di missioni e campagne archeologiche a partire dall’inizio del Novecento. L’iniziativa si inserisce nell’ambito del Progetto di Ateneo Picturing a Lost Empire. An Archive for Byzantine Monumental Heritage in the Eastern Mediterranean: The Centro di Documentazione di Storia dell’Arte Bizantina, Sapienza Università di Roma.
La Giornata di studi si svolgerà in modalità online sulla piattaforma Zoom. Per partecipare è necessario registrarsi al seguente link: https://uniroma1.zoom.us/meeting/register/tZAscO6hrjstGdIusk30E7OiGrrGB0ZQ7wih
The workshop Fotografare Bisanzio. Arte bizantina e dell’Oriente mediterraneo negli archivi italiani aims to explore the Italian archives that preserve photographs of Byzantine and Eastern Mediterranean art and architecture, a network that is poorly known in its entirety. These collections have been forming from the beginnings of the twentieth century, following research led by individual scholars and academic institutions and during field trips and archeological excavations. The workshop is part of the Sapienza research project Picturing a Lost Empire. An Archive for Byzantine Monumental Heritage in the Eastern Mediterranean: The Centro di Documentazione di Storia dell'arte Bizantina, Sapienza Università di Roma.
The workshop will take place online via Zoom. Please register here: https://uniroma1.zoom.us/meeting/register/tZAscO6hrjstGdIusk30E7OiGrrGB0ZQ7wih
Research Interests:
Research Interests:
Research Interests:
Research Interests: Art History, Architecture, Armenian Studies, Middle East Studies, Medieval Studies, and 15 moreMediterranean Studies, Medieval Archaeology, Byzantine Studies, Armenian History, Armenian Culture, Byzantine Architecture, Byzantine Archaeology, Historiography (in Art History), Travel Literature, Medieval Art, Byzantium, Armenia, Byzantine Architectural Sculpture, Middle Ages, and Byzantine art
23rd International Congress of Byzantine Studies, Belgrade 21-27 August 2016.
Research Interests:
The Emperor in the Byzantine World, 47th Spring Symposium of Byzantine Studies, Cardiff University, 25-27 April 2014.
Research Interests:
Picturing a Lost Empire An Italian Lens on Byzantine Art in Anatolia, 1960–2000 I viaggi di studio della Sapienza in Anatolia attraverso le fotografie del CDSAB – Centro di Documentazione di Storia dell’Arte Bizantina Catalogo della... more
Picturing a Lost Empire
An Italian Lens on Byzantine Art in Anatolia, 1960–2000
I viaggi di studio della Sapienza in Anatolia
attraverso le fotografie del CDSAB – Centro di Documentazione di Storia dell’Arte Bizantina
Catalogo della mostra
Arched Gallery, ANAMED – Research Center for Anatolian Civilizations, Koç University, Istanbul
A cura di
Livia Bevilacqua e Giovanni Gasbarri
Testi di
Engin Akyürek, Claudia Barsanti, Livia Bevilacqua, Giovanni Gasbarri,
Alessandra Guiglia, Antonio Iacobini, Andrea Paribeni, Lorenzo Riccardi, Enrico Zanini
Introducono
EUGENIO GAUDIO Magnifico Rettore della Sapienza Università di Roma
STEFANO ASPERTI Preside della Facoltà di Lettere e Filosofia
GAETANO LETTIERI Direttore del Dipartimento SARAS
Intervengono
ANTONIO IACOBINI, MARINA RIGHETTI Sapienza Università di Roma
SILVIA RONCHEY Università degli Studi Roma Tre
ENRICO ZANINI Università degli Studi di Siena
VENERDÌ 25 GENNAIO 2019
ORE 16.30
Sapienza Università di Roma, Dipartimento SARAS – Storia Antropologia Religioni Arte Spettacolo
Sezione Arte, Aula I “Adolfo Venturi”
Piazzale Aldo Moro 5, 00185 Roma
Progetto d’Ateneo 2017 Picturing a Lost Empire. An Archive for Byzantine Monumental Heritage in the Eastern Mediterranean. Responsabile Scientifico: Antonio Iacobini
An Italian Lens on Byzantine Art in Anatolia, 1960–2000
I viaggi di studio della Sapienza in Anatolia
attraverso le fotografie del CDSAB – Centro di Documentazione di Storia dell’Arte Bizantina
Catalogo della mostra
Arched Gallery, ANAMED – Research Center for Anatolian Civilizations, Koç University, Istanbul
A cura di
Livia Bevilacqua e Giovanni Gasbarri
Testi di
Engin Akyürek, Claudia Barsanti, Livia Bevilacqua, Giovanni Gasbarri,
Alessandra Guiglia, Antonio Iacobini, Andrea Paribeni, Lorenzo Riccardi, Enrico Zanini
Introducono
EUGENIO GAUDIO Magnifico Rettore della Sapienza Università di Roma
STEFANO ASPERTI Preside della Facoltà di Lettere e Filosofia
GAETANO LETTIERI Direttore del Dipartimento SARAS
Intervengono
ANTONIO IACOBINI, MARINA RIGHETTI Sapienza Università di Roma
SILVIA RONCHEY Università degli Studi Roma Tre
ENRICO ZANINI Università degli Studi di Siena
VENERDÌ 25 GENNAIO 2019
ORE 16.30
Sapienza Università di Roma, Dipartimento SARAS – Storia Antropologia Religioni Arte Spettacolo
Sezione Arte, Aula I “Adolfo Venturi”
Piazzale Aldo Moro 5, 00185 Roma
Progetto d’Ateneo 2017 Picturing a Lost Empire. An Archive for Byzantine Monumental Heritage in the Eastern Mediterranean. Responsabile Scientifico: Antonio Iacobini