Review: Byzantine Architecture by Cyril Mango

1977 ◽  
Vol 36 (3) ◽  
pp. 203-204 ◽  
Author(s):  
William L. MacDonald
Keyword(s):  
Byzantine Architecture

Unity Out of Diversity? The Making of a Modern Christian Monument in Anglo-Egyptian Sudan

2013 ◽  
Author(s):  
Robin Cormack
Keyword(s):  
Developing Country ◽  
Local Conditions ◽  
Early Christian ◽  
Byzantine Architecture

The landscape of Khartoum was changed when in 1906 a British Arts and Craft architect was commissioned to build the Anglican Cathedral of All Souls — partly as a memorial to General Gordon. The design was exhibited in 1909, and described as ‘A very curious piece of architecture, the style of which we presume is suggested by local associations’. The finished church, it is argued, was the masterpiece of the architect Robert Weir Schultz, an evocative blend of his earlier studies of Byzantine architecture in Greece, and medieval buildings in England and Cairo, and an impressive response to local conditions and materials in Sudan. The building has survived to today, but as the Museum of Sudanese History. Its fine furniture has been moved out, but can be tracked down. The original ensemble can be re-assessed as an evocation of an early Christian environment in a developing country.

The Basilica Transformed

2019 ◽  
pp. 199-217
Author(s):  
Robert G. Ousterhout
Keyword(s):  
Detailed Analysis ◽  
North Africa ◽  
Historical Context ◽  
Structural Systems ◽  
Design Features ◽  
History Of ◽  
Byzantine Architecture ◽  
History Of Architecture ◽  
East And West

A unique achievement in the history of architecture and the major monument of Byzantine architecture requires detailed analysis to understand its historical context, planning principles, structural systems, aesthetics, and symbolism. The Great Church was designed quickly—as some unresolved design features and structural flaws reveal—but it was intended to be unique in form and scale, meant to symbolize the dominion of the emperor Justinian, as his army reconquered lost territories in the East and West and in North Africa.

Byzantine Art and Architecture

Art History ◽  
2014 ◽  
Author(s):  
Ellen C. Schwartz
Keyword(s):  
New Technologies ◽  
Eastern Mediterranean ◽  
Eastern Mediterranean Region ◽  
Clear Cut ◽  
Religious Buildings ◽  
Byzantine Art ◽  
Byzantine Architecture ◽  
Byzantine Church ◽  
Elements Of Style ◽  
Art And Architecture

Byzantine art and architecture may be defined as the artistic production of the eastern Mediterranean region that developed into an orthodox set of societies after the relocation of the Roman capital to Constantinople in 330 ce. While there is a debate about the use of the term “Roman” for emperors as late as Justinian (r. 526–565), the churches and their decoration in Ravenna, as well as the 6th-century purple Bible and Gospel manuscripts clearly show the beginnings of the new iconographic and stylistic concerns that we call “Byzantine.” While Byzantium itself was conquered when the capital fell to the Ottoman Turks in 1453, the types of buildings and the traditions of monumental and portable arts continued on, even to the present day in places such as Mount Athos. Thus it is hard to define the era with clear-cut beginning and endpoints. It is similarly difficult to define Byzantine architecture and art in geographic terms. The quintessential middle Byzantine church type, the cross-in-square, continues in Russian churches in contemporary times. Elements of style in icon painting are preserved as well. The orthodox traditions that are expressed in these artistic forms cover much of eastern Europe; autocephalous churches form part of the orthodox confession despite the differences in language as well as the addition of some local saints. Areas included in what has been called the “Byzantine Commonwealth” include Serbia, Montenegro, Macedonia, Bulgaria, Russia, and parts of Albania and Romania, among others. The relationship of the style to Italy has never been satisfactorily explored. Byzantine art and architecture have largely been studied in terms of religious buildings, decoration, reception, and liturgical use. New approaches such as the study of gender, light, and sound (both vocal and musical) in Byzantine art are yielding significant results. Recently, secular arts have begun to form a focus of examination. New technologies have allowed closer viewing of objects such as ivories; modern approaches have also been applied to the consideration of Byzantine buildings and artifacts, yielding innovative interpretations. Although a tiny fraction of what we believe was created still exists, Byzantine art has continued to fascinate viewers as seen by a number of recent exhibitions worldwide.

Introduction

2017 ◽  
Author(s):  
Jelena Bogdanović
Keyword(s):  
Empirical Evidence ◽  
Short Overview ◽  
Building Type ◽  
Byzantine Architecture ◽  
Historical Architecture ◽  
New Methodologies ◽  
Byzantine Church ◽  
Different Cultures

The introduction outlines the broader archeological, visual, and literary evidence for canopies in the Byzantine ecclesiastical tradition and presents the importance of studies of canopies from archeological and architectural perspectives as a way to enhance our understanding of the idea of a Byzantine church. The discussion of canopies is focused on Byzantine tradition alone due to two major reasons. First is the need to present the empirical evidence on canopies, which would be difficult to illuminate if done across different cultures. Second highlights how the domed church, essentially an elaborated canopy, emerged as a recognizable building type in Byzantine architecture. By providing a short overview of the literature on canopies, the introduction emphasizes potentials of “soft” archeology and new methodologies in the studies of historical architecture that unveil Byzantine architecture beyond the building as a shelter for church services.

Preliminary results of a stratigraphic analysis of late Roman and early Byzantine architecture in the residential quarter of Jiyeh

2016 ◽  
Vol XXIV (1) ◽  
pp. 475-490
Author(s):  
Michał Dzik
Keyword(s):  
Ground Level ◽  
Preliminary Results ◽  
Stratigraphic Analysis ◽  
Residential Quarter ◽  
Byzantine Architecture ◽  
Early Byzantine ◽  
Three Phases ◽  
Late Roman

The paper discusses the results of the first season of research undertaken to establish and document the architectural stratification of the residential quarter in Jiyeh (ancient Porphyreon). The research was started on a separate complex of 14 rooms. Three phases of building development in the late Roman and early Byzantine periods were distinguished. Evidence was found of the division of this complex into three houses. Remains of stairways identified in two of the houses proved the existence of double-storey buildings. In the northern house of the complex, the layout of recesses and corbels preserved in the walls suggests the presence of a wooden gallery, communicating at ground level with rooms on the upper floor. This paper presents also some preliminary remarks on the functional division of the houses.

Early Christian and Byzantine Architecture

1967 ◽  
Vol 49 (3) ◽  
pp. 261
Author(s):  
Spiro K. Kostof ◽  
Richard Krautheimer
Keyword(s):  
Early Christian ◽  
Byzantine Architecture
Sign in / Sign up

Export Citation Format

Share Document