Related Papers
The icon of the Virgin “delle Benedettine” from Andria cathedral and some other monuments of Byzantine icon-painting in Southern Italy. The problem of artistic connections between East and West around 1200
2012 •
Alesya Veremyeva
The icon of the Virgin from Andria is believed to be one of the early Greek icons found in Southern Italy. Along with some formidable examples of 12th – 13th centurу monumental painting in Byzantium, it presents an intermediate stage between two versions of the “monumental style” – the paintings of the chapel in St. John the Theologian monastery on Patmos and the wall paintings of Latomou monastery in Thessaloniki. Th us, the icon of the Virgin from Andria can be aligned with the paintings of the metropolitan circle including Constantinople.
Г О Д И Ш Н И К на Софийския университет “Св. Климент Охридски” Център за славяно-византийски проучвания “Иван Дуйчев” / A N N U A I R E de L’Université de Sofia “St. Kliment Ohridski” Centre de Recherches Slavo-Byzantines “Ivan Dujčev”
"Икона на св. Богородица Панданаса с житийни сцени и светци във Византийския музей в Кастория (Костур)" [ An Icon of Virgin Pantanassa with Life Scenes and Saints from Kastoria ]
2011 •
Alexandra P H . TRIFONOVA
Elena Vinogradova Church of Kokkine Panagia near Konitsa in Epirus// Macedonian – Roman – Byzantine: The Art of Northern Greece from Antiquity to the Middle Ages. Proceedings of the conference. Moscow, 2017. P. 166-185.
Виноградова Е.А. Фрески эпирского храма Коккини Панагия близ Коницы// Македония – Рим – Византия: искусство Северной Греции от античности до средних веков. Материалы научной конференции. М.: «КДУ», «Университетская книга», 2017. С. 166-185.
2017 •
Elena Vinogradova
The less-studied frescoes in the sanctuary of Kokkine Panagia сhurch near Konitsa in Epirus are typically provincial, but interesting for their unique iconography. A convincing interpretation was given by Ch. Konstantinidi for the two lower registers of the apse, where we find, in the service of the Bishops, a unique combination of two iconographic versions of Melismos. In the conch of the apse, the Virgin Mary is represented in an iconography which combines a number of Old Testament prototypes. Scholars have interpreted this composition as the Virgin of the Tabernacle, although some details of the image force us to doubt the correctness of this identification. The Virgin is shown in a rounded bowl, which should be interpreted as the image of the Virgin Zoodochos Pege, to whom the church is dedicated. Stylistic analysis of the frescoes shows that they could not have been produced in the late 14th–early 15th centuries, but must be dated to the era of the Despotate of Epirus, the late 13th century, close to the frescoes of Porta Panagia. So the sophisticated iconography of the frescoes is not the result of long evolution, but a unique phenomenon of the turn of the 13–14th centuries, corresponding to the intellectual trends of the era.
SAINT ATHANASIOS OF ALEXANDRIA. Fresco from the Church of the Presentation of the Virgin in the Temple in Lipljan, Serbian Artistic Heritage in Kosovo and Metohija.Identity, Significance, Vulnerability. Catalogue of the exhibition, Gallery of the SASA, Belgrade 2017.
Andrijana Golac-Čubrilo
Монументальные иконы в ранневизантийском искусстве. Богоматерь Оранта из оратория Иоанна VII (705-707) в Риме // Труды Государственного Эрмитажа : [T. LXXIV] : Византия в контексте мировой культуры : сборник научных трудов, посвященный памяти Алисы Владимировны Банк (2015), 14-34
Maria Lidova
“Throne of Claudius”: on Interpretation of Allegorical Relief from Cerveteri // Actual Problems of Theory and History of Art: Collection of articles. Vol. 5. / Eds. S.V. Maltseva, E. Iu. Staniukovich-Denisova, A.V. Zakharova. St. Petersburg: NP-Print, 2015. Pp. 94-106.
Boris Zashliapin
In 1840 a marble slab with an image in relief was found at Cerveteri. From the very beginning it has attracted attention of many scholars. This was based on the peculiar interest of Europeans to Etruscan art in the mid-19th century. The connection between the characters of the relief follows from Latin inscriptions that denote exact Etruscan cities. Unfailing interest to the item is proved by the fascinating exhibition held in late 2013 — early 2014 in the Louvre-Lens, where the monument was among the key items. In this paper the author makes an attempt to consider the relief in quite a different way, not confined with the interpretations of the 19th century, some arguments of which are rethought. It is obviously possible that the scene on relief is closely connected with the understanding of afterlife and can illustrate the idea of ever-living Roman emperor and his divine power as referred to by different nations of the Empire. Academic supervisor: PhD, professor Nadia C. Jijina
Икона «Спас Нерукотворный» из Смоленского музея и ее место в псковском искусстве XV в. / Icon of Holy Face from the Smolensk museum and its place in Pskov art of the 15 cent. // Древнерусское искусство. Византийский мир: региональные традиции... К юбилею Э.С.Смирновой. М., 2017. С. 141–156
Irina Shalina
Palaguta I. Imagery and written sources of Classic Antiquity in the problem of solution of Prehistoric European Art interpretation
Палагута И.В. Античные изобразительные и письменные источники в решении проблемы интерпретации памятников искусства доисторической Европы // Актуальные проблемы теории и истории искусства. Вып. 5. СПб., 2015. С. 77–85
Ilia Palaguta
European cultures of the Neolithic and Copper Age dated to VII–III millennia BC represent a huge array of art objects, first of all of various forms of small clay sculpture (figurines, miniature models of houses etc.). The notion that the majority of these findings should be linked to cults of fertility and “Great Goddess” that confirmed during XX century can be rethinked. An analysis of antique, particularly Roman material gives close structural analogies to the European statuettes of the Neolithic Age. In extant texts is mentioned the whole group of gods associated with house and family: Genii Familiae, Lares Familiares et Compitales, Penates. Related to them households’ cults come bake to worship of family or genus ancestors. Some features of Lares and Penates cult and it’s iconography give base to draw a parallel between them and certain groups of the early-agriculturalist statuettes, which can be interpreted as character’s images connected with ancestor’s cult. An important problem is the study of Bronze Age plastic (III-II millennium BC). Further studies in the designated area allow reaching a new level of interpretations, allowing more fully disclose the contents of European prehistoric art.
Галут О.В. Всадник, предстоящий богине в боспорском искусстве: происхождение и символика образа / Galut O.V. Rider coming to the goddess in Bosporus art: origin and the symbolism of the image
Olga Galut
Искусствознание [Art Studies]
“О доблестях женщин»: иконография Тимоклеи и итальянский рисунок конца XVI века из собрания Эрмитажа» [‘On the Virtues of Women”: The Iconography of Timoclea and a Late Sixteenth-century Italian Drawing in the Hermitage Collection]
2020 •
Catherine Phillips
The relatively few known depictions of Timoclea predominantly show her standing before Alexander of Macedonia, illustrating the magnanimity and wisdom of the monarch. Such is the most famous painting on the subject by Domenichino. A minority, however, depict the ‘crime’ for which she was brought before Alexander, the killing of her rapist, a Thracian captain, by tossing him into a well. Such was the choice of Elisabetta Sirani, whose painting has become a symbol for female resistance to violence in the 21st century. This article shows how other works, including a drawing in the Hermitage, introduce nuances to the subject, and demonstrates how artists’ treatments of Timoclea derive in part from the two slightly different versions of her story provided by Plutarch.
