The artistic ties between Byzantium and the bordering countries did not develop in a uniform manner. In some cases, direct influence from Constantinople, brought by visiting masters or imported artworks, was decisive. In other cases, the continuation of earlier traditions dating back to the Late Antique period was essential. During the 4th-7th centuries many principles shared throughout the Mediterranean and the Christian East were formed. In art, this was manifested in the simultaneous emergence of similar architectural types, iconographies and decorative motives in different parts of the Christian world. Such examples have given rise to theories about influences between West and East. However, a closer examination of specific examples shows that more often these were parallel processes. We shall present several such case studies considering the development of the aisled tetraconch typology in the Balkans, Italy, and Syria; motives of carved decoration of Early Christian buildings in the Northern Balkans and Adriatic; 7th century reliefs and murals in Armenia. The artistic processes that developed in the 9th-11th centuries in the lands bordering Byzantium in the East (South Caucasus) and in the West (Adriatic) were similar in some way. In both areas, there was a consistent continuity with the traditions of the preceding periods, that were reinterpreted showcasing vivid regional uniqueness. Other presentations in our session will address the issues of further development of some Early Christian traditions in the regional architecture and the influence of Constantinopolitan art. We shall consider such cases as the activities of Dalmatian builders in the Northern Balkans and that of the Constantinopolitan builders in the Northern Adriatic. In certain instances, the ways of direct borrowings of specific ornamental motifs can be traced through fabrics, portable objects, and illustrated manuscripts: one such case is exemplified by the miniatures of the Armenian Adrianopolis Gospels.
The barbarian invasions of the 6th and 7th centuries weakened Byzantine influence in the Balkans. The gradual recovery from the crisis in the northern regions of the Balkans and the Dalmatian coast took place under different cultural and political conditions, but had many similarities in terms of artistic development. After the Christianization of the Balkans…
The church of San Marco in Venice is an unparalleled masterpiece of Byzantine architecture showcasing the brilliant abilities of Byzantine builders for transforming their traditions and skills according to the wishes and possibilities of the local patrons and craftsmen. The initial architectural decoration of San Marco is fragmentarily preserved. Some of its elements may be…
Aisled tetraconchs, a common Early Christian architectural type, are attested throughout the Mediterranean (Italy, Balkans, Asia Minor, Syria, and Egypt). However, in the Northern Balkans it acquires a specific variation without eastern ambulatory. This group is represented by the basilicas in Lychnidos, Lin, Justiniana Prima, and Perushtitsa. A similar plan is found in Resafa (St….
An important stage in the development of medieval Armenian art and culture was the seventh century, often described as the “Byzantine century” of Armenian culture. In the artistic production of this period, compositions and motifs derived from Early Christian and Early Byzantine iconography appear with notable frequency. Among these, one composition that became especially widespread…
This study offers a nuanced analysis of attire represented in Armenian medieval art, with a particular focus on the dynamics of cross-cultural interaction. It situates medieval garments within their historical and cultural frameworks, underscoring the role of elite dress as a visual marker of identity in a region defined by multicultural exchange. Particular attention is…