Ancient Statues in Mediaeval Constantinople
Author | : Richard McGillivray Dawkins |
Publisher | : |
Total Pages | : 40 |
Release | : 1924 |
Genre | : Istanbul (Turkey) |
ISBN | : |
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Author | : Richard McGillivray Dawkins |
Publisher | : |
Total Pages | : 40 |
Release | : 1924 |
Genre | : Istanbul (Turkey) |
ISBN | : |
Author | : Richard McGillivray Dawkins |
Publisher | : |
Total Pages | : 2 |
Release | : 1924 |
Genre | : Byzantine antiquities |
ISBN | : |
Author | : Albrecht Berger |
Publisher | : Cambridge University Press |
Total Pages | : 143 |
Release | : 2021-07-15 |
Genre | : History |
ISBN | : 1108962858 |
This Element discusses the ancient statues once set up in Byzantine Constantinople, with a special focus on their popular reception. From its foundation by Constantine the Great in 324, Constantinople housed a great number of statues which stood in the city on streets and public places, or were kept in several collections and in the Hippodrome. Almost all of them, except a number of newly made statues of reigning emperors, were ancient objects which had been brought to the city from other places. Many of these statues were later identified with persons other than those they actually represented, or received an allegorical (sometimes even an apocalyptical) interpretation. When the Crusaders of the Fourth Crusade conquered the city in 1204, almost all of the statues of Constantinople were destroyed or looted.
Author | : William Holden Hutton |
Publisher | : |
Total Pages | : 384 |
Release | : 1900 |
Genre | : Istanbul (Turkey) |
ISBN | : |
Author | : J. P. A. van der Vin |
Publisher | : |
Total Pages | : 350 |
Release | : 1980 |
Genre | : Greece |
ISBN | : |
Author | : Paroma Chatterjee |
Publisher | : Cambridge University Press |
Total Pages | : 600 |
Release | : 2022-01-06 |
Genre | : Art |
ISBN | : 1108988334 |
Up to its pillage by the Crusaders in 1204, Constantinople teemed with magnificent statues of emperors, pagan gods, and mythical beasts. Yet the significance of this wealth of public sculpture has hardly been acknowledged beyond late antiquity. In this book, Paroma Chatterjee offers a new perspective on the topic, arguing that pagan statues were an integral part of Byzantine visual culture. Examining the evidence in patriographies, chronicles, novels, and epigrams, she demonstrates that the statues were admired for three specific qualities - longevity, mimesis, and prophecy; attributes that rendered them outside of imperial control and endowed them with an enduring charisma sometimes rivaling that of holy icons. Chatterjee's interpretations refine our conceptions of imperial imagery, the Hippodrome, the Macedonian Renaissance, a corpus of secular objects, and Orthodox icons. Her book offers novel insights into Iconoclasm and proposes a more truncated trajectory of the holy icon in medieval Orthodoxy than has been previously acknowledged.
Author | : Sarah Bassett |
Publisher | : |
Total Pages | : 326 |
Release | : 2004 |
Genre | : Architecture |
ISBN | : |
This book reconstructs Constantinople's collection of antiquities from its foundation to its fall.
Author | : Cyril Mango |
Publisher | : |
Total Pages | : 10 |
Release | : 1992 |
Genre | : |
ISBN | : |
Author | : W. H. Hutton |
Publisher | : Library of Alexandria |
Total Pages | : 436 |
Release | : |
Genre | : Fiction |
ISBN | : 1465572368 |
Author | : Paul Magdalino |
Publisher | : BRILL |
Total Pages | : 183 |
Release | : 2024-06-03 |
Genre | : History |
ISBN | : 9004700765 |
This book studies the research perspective in which the literary inhabitants of Late Antique and medieval Constantinople remembered its past and conceptualised its existence as a Greek city that was the political capital of a Christian Roman state. Initial reactions to Constantine’s foundation noted its novel Christian orientation, but the memorial mode of writing about the city that developed from the sixth century recollected the traditional civic cultural heritage that Constantinople claimed both as the New Rome, and as the continuation of ancient Byzantion. This research culture increasingly became the preserve of the imperial bureaucracy, and focused on the city’s sculptured monuments as bearers of eschatological meaning. Yet from the tenth century, writers progressively preferred to define the wonder and spectacle of Constantinople in the aesthetic mode of urban praise inherited from late antiquity, developing the notion of the city as a cosmic theatre of excellence.