Investigates the political and spiritual agenda behind monumental paintings of Christ's miracles in late Byzantine churches.

The Image of Edessa, also later known as the Mandylion, was a relic of Christ, a cloth imprinted with his features which he had used to wipe his face, and subsequently used to cure King Agbar of Edessa, the first Christian ruler. This book collects and provides parallel translations of all the available written evidence for the image, along with detailed analysis of the history of the image. Guscin deftly seperates fact from legend, for while the story of King Agbar is certainly mythical, an image of some sort did definitely exist by the mid tenth century when it was translated to Constantinople.

The image of Divine Wisdom, traditionally associated with the Sophia Cathedral in Novgorod, is an innovation of the fifteenth century. The icon represents the winged, royal, red-faced Sophia flanked by the Mother of God and John the Baptist. Although the image has a contemporaneous commentary, and although it exercised a profound influence on Russian cultural history, its meaning, together with the dating and localisation of the first appearance of the iconography, has remained an art-historical conundrum. By exploring the message, roots, function, and historical context of the creation of the first, most emblematic and enigmatic Russian allegorical iconography, Depicting Orthodoxy in the Russian Middle Ages deciphers the meaning of this icon. In contrast to previous interpretations, Kriza argues that the winged Sophia is the personification of the Orthodox Church. The Novgorod Wisdom icon represents the Church of Hagia Sophia, that is, Orthodoxy, as it was perceived in fifteenth-century Rus. Depicting Orthodoxy asserts that the icon, together with its commentary, was a visual-textual response to the Union of Florence between the Catholic and Orthodox Churches, signed in 1439 but rejected by the Russians in 1441. This interpretation is based on detailed interdisciplinary research, drawing on philology, art history, theology, and history. Kriza's study challenges some key assumptions concerning the relevance of Church Schism of 1054, the polemics between the Greeks and the Latins about the bread of Eucharist, and the role of the Union of Florence in the history of Russian art. In particular, by studying both well- and lesser-known works of art alongside overlooked textual evidence, this volume investigates how the Christian Church and its true faith were defined and visualized in Rus and Byzantium throughout the centuries.

This is the first study in any language to trace the emergence of the art historical interest in icon painting in the nineteenth century with its evident impact on the course of Russian modernism in the twentieth century. Given the surge in popularity of the Russian avant-garde, a book devoted to the gradual awareness of the artistic value of icons and their effect on Russian aesthetics is timely. The discoveries, the false starts, the incompetence, the interaction of dilettantes and academics, the meddling of tsars and church officials, all make for a fascinating tale of growing cultural awarenss. It is a story that prepares the ground for the explosioin of Russian cultural creativity and acceptability in the early twentieth century.

This work is the first systematic study of how monumental buildings were constructed in medieval Russia. It deals specifically with ecclesiastical architecture, but also discusses such secular architecture, palaces or towers. In scope the book covers the territory of the Kievan state and the principalities that succeeded it, from the 10th century to the 13th century. Pavel Aleksandrovich Rappoport was the author of many of the standard works on the architectural history of Russia, whether monumental, military or domestic. He was also a leading archaeologist. In Building the Churches of Kievan Russia his aim is to investigate how people went about building them: from brickmaking and lime-firing to the roofing and decoration, from how the churches were laid out to how much brickwork was laid in a day. This book treats all these processes as one integrated and interconnected procedure. The detailed analysis enables Rappoport to identify the work of particular teams of builders, even individual masters, and to follow their progress from one site to another, and one town to a second. Similarly, he documents how the Byzantine styles and methods of church building, imported into Russia after its conversion in 989, were gradually adapted to meet the needs of local circumstances and climate. This study will be of direct relevance to those concerned with the architecture and the Church of pre-Mongol Russia, as well as its social history. The investigation of the earliest churches, furthermore, represents the sole extended discussion of Byzantine building practices. In terms of methodology, the book will be of interest to all architectural historians and archaeologists concerned with the Middle Ages, and makes accessible in English material that has hitherto only been available in Russian.