Sacred Shock attempts to lay bare the inner workings of Byzantine art by looking closely at the marginal or subsidiary areas in works of art.

This book explores the nexus of art, personal piety, and self-representation in the last centuries of Byzantium. Spanning the period from around 1100 to around 1450, it focuses upon the evidence of verse inscriptions, or epigrams, on works of art. Epigrammatic poetry, Professor Drpić argues, constitutes a critical - if largely neglected - source for reconstructing aesthetic and socio-cultural discourses that informed the making, use, and perception of art in the Byzantine world. Bringing together art-historical and literary modes of analysis, the book examines epigrams and other related texts alongside an array of objects, including icons, reliquaries, ecclesiastical textiles, mosaics, and entire church buildings. By attending to such diverse topics as devotional self-fashioning, the aesthetics of adornment, sacred giving, and the erotics of the icon, this study offers a penetrating and highly original account of Byzantine art and its place in Byzantine society and religious life.

What does it mean to experience and engage in religious ritual? How does liturgy structure time and space? How do our bodies move within liturgy, and what impact does it have on our senses? How does the experience of ritual affect us and shape our emotions or dispositions? How is liturgy experienced as a communal event, and how does it form the identity of those who participate in it? Welcoming Finitude explores these broader questions about religious experience by focusing on the manifestation of liturgical experience in the Eastern Christian tradition. Drawing on the methodological tools of contemporary phenomenology and on insights from liturgical theology, the book constitutes a philosophical exploration of Orthodox liturgical experience.

Explores the development and diffusion of the vita image which emerged in Byzantium in the twelfth century and spread to Italy and beyond.

The Cult of St Anna in Byzantium is the first undertaking in Byzantine research to study the phenomenon of St Anna’s cult from the sixth to the fifteenth centuries. It was prompted by the need to enrich our knowledge of a female saint who had already been studied in the West but remained virtually unknown in Eastern Christendom. It focuses on a figure little-studied in scholarship and examines the formation, establishment and promotion of an apocryphal saint who made her way to the pantheon of Orthodox saints. Visual and material culture, relics and texts track the gradual social and ideological transformation of Byzantium from early Christianity until the fifteenth century. This book not only examines various aspects of early Christian and Byzantine civilisation, but also investigates how the cult of saints greatly influenced cultural changes in order to suit theological, social and political demands. The cult of St Anna influenced many diverse elements of Christian life in Constantinople, including the creation of sacred spaces and the location of haghiasmata (fountains of holy water) in the city; imperial patronage; the social reception of St Anna’s story; and relic narratives. This monograph breaks new ground in explaining how and why Byzantium and the Orthodox Church attributed scriptural authority to a minor figure known only from a non-canonical work.

The Late Byzantine period (1261–1453) is marked by a paradoxical discrepancy between economic weakness and cultural strength. The apparent enigma can be resolved by recognizing that later Byzantine diplomatic strategies, despite or because of diminishing political advantage, relied on an increasingly desirable cultural and artistic heritage. This book reassesses the role of the visual arts in this era by examining the imperial image and the gift as reconceived in the final two centuries of the Byzantine Empire. In particular it traces a series of luxury objects created specifically for diplomatic exchange with such courts as Genoa, Paris and Moscow alongside key examples of imperial imagery and ritual. By questioning how political decline refigured the visual culture of empire, Cecily J. Hilsdale offers a more nuanced and dynamic account of medieval cultural exchange that considers the temporal dimensions of power and the changing fates of empires.

Byzantine Media Subjects invites readers into a world replete with images—icons, frescoes, and mosaics filling places of worship, politics, and community. Glenn Peers asks readers to think themselves into a world where representation reigned and humans followed, and indeed were formed. Interrogating the fundamental role of representation in the making of the Byzantine human, Peers argues that Byzantine culture was (already) posthuman. The Byzantine experience reveals the extent to which media like icons, manuscripts, music, animals, and mirrors fundamentally determine humans. In the Byzantine world, representation as such was deeply persuasive, even coercive; it had the power to affect human relationships, produce conflict, and form self-perception. Media studies has made its subject the modern world, but this book argues for media having made historical subjects. Here, it is shown that media long ago also made Byzantine humans, defining them, molding them, mediating their relationship to time, to nature, to God, and to themselves.