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Dominique Collon, Donald F. Easton, Jeanny Vorys Canby, J. D. Hawkins, K. Aslihan Yener, Oscar White Muscarella and A. Nunn

Region roughly equivalent to the modern state of Turkey. The name Anatolia was first used by Byzantine writers in the 10th century ad, as an alternative to Asia Minor, and is now often used in its Turkish form, ‘Anadolu’, to describe Turkey in Asia. In this article the term ancient Anatolia covers the cultures and civilizations that flourished in the region from possibly as early as the 14th millennium bc to the 6th century bc. A wealth of remains from the Neolithic period (c. 8000–c. 5800 bc) to the Early Bronze Age (c. 3400–c. 2000 bc) testifies to the advanced prehistoric culture of Anatolia. During the 2nd millennium bc this was succeeded by the civilization of the Hittites (see Hittite), the demise of which was followed by a Dark Age lasting some two centuries. Eastern and south-eastern Anatolia were dominated from the ...

Article

Seton Lloyd

Ancient settlement around the upper reaches of the Büyük Monderes (Meander River), near Çivril in Turkey, that flourished during the Bronze Age (c. 3500–1200 bc) and was briefly reoccupied in the Early Christian period. The imposing ruin mound, with twin summits, was excavated (1954–9) by the British Institute of Archaeology at Ankara under Seton Lloyd.

These excavations revealed 40 successive levels of occupation with modest building remains. At the earliest levels, the pottery can be dated to a late phase of the Chalcolithic period (c. 3500 bc), though metal objects (including silver) already appear in small quantities. Comparable finds from other sites in the same area combine with the Beycesultan material to produce a schematic chronological sequence for the whole of south-western Anatolia. The architectural and artistic material shows the evolution of a culture that was possibly the direct forebear of the Iron Age civilization in western Anatolia. In the 2nd millennium ...

Article

Annemarie Weyl Carr

(b Berlin, Aug 11, 1909; d London, Nov 10, 1996).

German scholar of Byzantine, East Christian and European illuminated manuscripts. He took his degree in 1933 at the University of Hamburg in the heady community of the Warburg Library (later Institute) under the tutelage of Erwin Panofsky and Fritz Saxl. Immigrating with the Warburg staff and library to London in 1934, he served from 1940 to 1949 as the Institute’s Librarian and from 1944 to 1965 as Lecturer, Reader and then Professor of Byzantine art at the University of London. In 1965 he came to the Institute of Fine Arts, New York University, becoming in 1970 the first Ailsa Mellon Bruce Professor. He retired in 1975 to London, where he died in 1996.

Buchthal is best known for his Miniature Painting in the Latin Kingdom of Jerusalem (1957), which laid the foundation for the now well-established art-historical field of Crusader studies. It exemplifies both his originality and the methods that made his scholarship so durable. Fundamental among these were his holistic approach to manuscripts, giving as much attention to ornament, liturgical usage, text traditions, palaeography and apparatus as to miniatures, and his relentlessly keen visual analysis. Aided by a powerful memory, he worked from original monuments, developing exceptional acuity in dissecting the formal components of their images. Mobilized in his dissertation, published in ...

Article

In the 20th century, discussion of the relationship between Byzantine art and the art of the Latin West evolved in tandem with scholarship on Byzantine art itself. Identified as the religious imagery and visual and material culture of the Greek Orthodox Empire based at Constantinople between ad 330 and 1453, studies of Byzantine art often encompassed Post-Byzantine art and that of culturally allied states such as Armenian Cilicia, Macedonia, and portions of Italy. As such fields as Palaiologan family manuscripts and wall paintings, Armenian manuscripts, and Crusader manuscripts and icons emerged, scholars identified new intersections between Western medieval and Byzantine art. Subtle comparisons emerged with the recognition that Byzantine art was not static but changed over time in style and meaning, although most analyses identified Byzantine art as an accessible reservoir of the naturalistic, classicizing styles of antiquity. Scholars considering the 7th-century frescoes at S Maria Antiqua and mosaics at S Maria in Cosmedin, both in Rome, and the 8th-century frescoes at Castelseprio and Carolingian manuscripts such as the Coronation Gospels of Charlemagne (Vienna, Schatzkam. SCHK XIII) used formal comparisons with works such as pre-iconoclastic icons at St Catherine’s Monastery on Sinai, along with the history of Byzantine iconoclasm, to argue for the presence of Greek painters in the West. Similarly, Ottonian and Romanesque painting and luxury arts, such as ivories, provided examples of the appropriation of Byzantine imperial imagery. Yet the study of works such as the great 12th-century ...

Article

Maskana  

J.-C. Margueron

[Mesken; Meskene; Miskina]

Small town in north Syria on the south bank of the River Euphrates near an ancient site known in antiquity as Emar, in Byzantine times as Barbalissos and in Islamic times as Balis. It lay on an ancient trade route between the Mediterranean, Anatolia and Mesopotamia. The site was excavated in 1929 and again between 1971 and 1976 during salvage operations accompanying the building of the Tabqa Dam. The minaret was dismantled and rebuilt on higher ground, but the ancient site and Maskana itself have been flooded by Lake Assad. Finds are in the National Museum, Aleppo, and the Musée du Louvre, Paris; objects looted from the site are in numerous private collections.

J.-C. Margueron

This Bronze Age city flourished during the 3rd and 2nd millennia bc as a staging-post on a major trade route, where not only goods but also ideas and influences were exchanged. The city is mentioned in the Ebla texts of the second half of the 3rd millennium ...

Article

William M. Voelkle

Portable altar–reliquary (New York, Morgan Lib.), made c. 1156 for the Stavelot Abbey in the Ardennes, Belgium and decorated with both Mosan and Byzantine enamels (see fig.). The reliquary is named after the Benedictine abbey headed by Wibald of Stavelot, its enlightened abbot from 1130 to 1158. It is the first of a series of Mosan reliquary triptychs containing portions of the True Cross. Of these, only the Stavelot Triptych contains scenes from the life of Constantine and the legend of the finding of the True Cross by Empress Helena, his mother. Although two commissions by Wibald are documented (the St Remaclus Retable, destroyed during the French Revolution, and the Head Reliquary of Pope Alexander of 1145; Brussels, Musées Royaux A. & Hist.), the Stavelot Triptych is not. Wibald may have been given both the cross relic and the two small Byzantine enamel triptychs displayed on the centre panel of the Stavelot Triptych during his diplomatic mission (...