The church of Hagia Sophia in Trebizond, built by the emperor Manuel I Grand Komnenos (1238-63) in the aftermath of the fall of Constantinople to the Fourth Crusade, is the finest surviving Byzantine imperial monument of its period. Art and Identity in Thirteenth-Century Byzantium is the first investigation of the church in more than thirty years, and is extensively illustrated in colour and black-and-white, with many images that have never previously been published. Antony Eastmond examines the architectural, sculptural and painted decorations of the church, placing them in the context of contemporary developments elsewhere in the Byzantine world, in Seljuq Anatolia and among the Caucasian neighbours of Trebizond. Knowledge of this area has been transformed in the last twenty years, following the collapse of the Soviet Union. The new evidence that has emerged enables a radically different interpretation of the church to be reached, and raises questions of cultural interchange on the borders of the Christian and Muslim worlds of eastern Anatolia, the Caucasus and Persia. This study uses the church and its decoration to examine questions of Byzantine identity and imperial ideology in the thirteenth century. This is central to any understanding of the period, as the fall of Constantinople in 1204 divided the Byzantine empire and forced the successor states in Nicaea, Epiros and Trebizond to redefine their concepts of empire in exile. Art is here exploited as significant historical evidence for the nature of imperial power in a contested empire. It is suggested that imperial identity was determined as much by craftsmen and expectations of imperial power as by the emperor's decree; and that this was a credible alternative Byzantine identity to that developed in the empire of Nicaea.

"Explores the Byzantine aesthetic of fugitive appearances by placing and filming art objects in spaces of changing light, and by uncovering the shifting appearances expressed in poetry, descriptions of art, and liturgical performance"--Provided by publisher.

Offers a new perspective on Byzantine imperial imagery, demonstrating the role foreign styles and iconography played in the visual articulation of imperial power.

This volume is the first to focus solely on how specific individuals and groups in Byzantium and its borderlands were defined and distinguished from other individuals and groups from the mid-fourth to the close of the fifteenth century. It gathers chapters from both established and emerging scholars from a wide range of disciplines across history, art, archaeology, and religion to provide an accurate representation of the state of the field both now and in its immediate future. The handbook is divided into four subtopics that examine concepts of group and specific individual identity which have been chosen to provide methodologically sophisticated and multidisciplinary perspectives on specific categories of group and individual identity. The topics are Imperial Identities; Romanitas in the Late Antique Mediterranean; Macro and Micro Identities: Religious, Regional, and Ethnic Identities, and Internal Others; and Gendered Identities: Literature, Memory, and Self in Early and Middle Byzantium. While no single volume could ever provide a comprehensive vision of identities on the vast variety of peoples within Byzantium over nearly a millennium of its history, this handbook represents a milestone in offering a survey of the vibrant surge of scholarship examining the numerous and oft-times fluctuating codes of identity that shaped and transformed Byzantium and its neighbours during the empire's long life.

In this book, Liz James offers a comprehensive history of wall mosaics produced in the European and Islamic middle ages. Taking into account a wide range of issues, including style and iconography, technique and material, and function and patronage, she examines mosaics within their historical context. She asks why the mosaic was such a popular medium and considers how mosaics work as historical 'documents' that tell us about attitudes and beliefs in the medieval world. The book is divided into two part. Part I explores the technical aspects of mosaics, including glass production, labour and materials, and costs. In Part II, James provides a chronological history of mosaics, charting the low and high points of mosaic art up until its abrupt end in the late middle ages. Written in a clear and engaging style, her book will serve as an essential resource for scholars and students of medieval mosaics.