In this respect, both the Antioch mosaic and the Byzantine images can be contrasted to the standard Roman scene. 1.24).Footnote 36 A further instance of this appears in the Conquest and Clemency relief, originally from the Arch of Marcus Aurelius, which represents a common trope in Roman sculpture, of defeated barbarians kneeling before the mounted emperor (Museo del Palazzo dei Conservatori, Rome, AD 17680, Fig. They dont have to be an actual image, but they do need to conjure oneto consolidate everything you know about your donors, give them personality and form. Similarly, he does not proffer the building to the holy figure. If youre swimming in numbers it can be hard to make sense of them, so think carefully about the fields you need, and keep your analysis focussed. Even if true supplicants, fervent and humble, seeking contact and the opportunity to deliver a plea, Leo and Theodore are also ktetors, and these images cannot help but speak of social status too. 26 J. Oates, Babylon (London: Thames & Hudson, 1986), 175. It consists of several chapters of the Panoplia, an anti-heretical work in all likelihood composed at the behest of Alexios himself from the theologian Euthymios Zygabenos.Footnote 13 Alexios is thus reading to Christ from this work that he has commissioned, a work that not only attacks heresy, but also is based on nothing but the most orthodox of sources. Rutgers the State University of New Jersey October 1619, 2008: Abstracts, Byzantine Studies Association of North America, Sussidi bibliografici per i manoscritti Greci della Biblioteca Vaticana, The Emperor in Byzantine Art of the Twelfth Century, The Mosaics of St Sophia at Istanbul. See also J. Elsner, Art and the Roman Viewer (Cambridge: Cambridge University Press, 1995), 177210, on the processional aspect of both the San Vitale panels and the Ara Pacis. Before you begin writing, you'll need to find a donor excited and willing to tell their story. The result of this combination of the direct donation of the supplicant and the living, breathing quality of the recipient results in an immediate increase in the vividness of the donation and the reality of the contact between lay and holy. Cookie policy. It should be easy for someone to manage and withdraw their consent at any point, and you should be prepared to exclude and delete information if you do not have the tick you need. 666), Thirty-Fourth Annual Byzantine Studies Conference. Rogues like Drer and Van Eyck notwithstanding, portraiture did not make a large-scale comeback until the start of the Renaissance a period during which the genre acquired new meanings and purposes. And in this, there is truth. 1.7). Donor portrait usually refers to the portrait or portraits of donors alone, as a section of a larger Alchetron Sign in Neha Patil (Editor) See also A. Beihammer, S. Constantinou, and M. Parani (eds. You might not find these in your online analytics, but the more opportunities you have to engage with your donors, talk to them and find out why they give to you, the more notes you can add to their profile. If anything, the reverse is true. The word ktetor derives from the Greek ktaomai, which in ancient Greek means to procure or to acquire, and by Late Antique times comes to mean to possess or to own.Footnote 1 These languages thus know these images as owners or possessors portraits. Are there any trends (location, interests, family situation, occupation) that stand out? 1.17).Footnote 27. Master of Vy Brod, a Bohemian master, ca. gr. Also see K. Clark, Checklist of Manuscripts in the Libraries of the Greek and Armenian Patriarchate in Jerusalem (Washington: Library of Congress, 1953), 15 and 30, and Spatharakis, Portrait, 5759. donor portrait Quick Reference A portrait depicting the giver of a work of art or architecture in company with holy figures (Jesus, the Virgin, or saints); the convention goes back at least as far . It is primarily this that prevents the scene from being a true donor portrait, no matter when it was executed. These were derived from frescoes by Pellegrino Tibaldi a century early, which use the same conceit. In this scene, then, an effort has been made to preserve something of the genuine contact of the true donor portrait, but not so much as to make the emperors seem like petitioners. Vatic. 33 This is National Archaeological Museum, Athens, no. [4] To do so during prayer is in accord with late medieval concepts of prayer, fully developed by the Modern Devotion. Let us reserve ktetor and ktetor portraits for the former group, and supplicant and contact portraits for the latter. These images share some elements of the contact-laden donation of Theodore, but ultimately have more in common with coronation iconography. In this scene Constantine has in his hands a model of the walled city of Constantinople, in reference to his construction of the city walls, while Justinian has a model of the Church of Hagia Sophia, in reference to his reconstruction of the building. 1v, c. 1120. 1.8). In the imperial ktetor portrait, however, the direction of address is not from the lay figure toward Christ, but outward, from the emperor toward the observer. 40 For more on proskynesis in Byzantine art, amongst a large bibliography, see A. Cutler, Transfigurations: Studies in the Dynamics of Byzantine Iconography (University Park: Pennsylvania State University Press, 1975), 5391; L. Brubaker, Gesture in Byzantium, Past and Present 4 (2009): 3656; and Hillsdale, Byzantine Art and Diplomacy, 12633. Render date: 2023-04-30T17:36:33.386Z 1.11); afterwards, they tend to show more intensity and fervor in their approach. Further, once we undertake a careful scrutiny of the images, we might also ask whether these two terms that we have been discussing, donor and ktetor, are themselves the most relevant categories to apply to the range of images we have so far seen. Yes, its a process. Note you can select to save to either the @free.kindle.com or @kindle.com variations. A summary is not available for this content. What, exactly, is the iconographic type known as the donor portrait? 680850). Even within the broad parameters that all the scenes adhere to, an enormous amount of variation is still visible between them, almost every one having a distinct mood and feeling. If a regular person was featured in a painting, they were depicted as partaking in a recognizable religious scene such as the birth or death of Christ. A specific example taken from a large range of possibilities is the picture of a supplicant in proskynesis named simply George in the Church of Hagios Stephanos in Kastoria (1338, Fig. 3v, twelfth century. In medieval art, donors were frequently portrayed in the altarpieces or wall paintings that they commissioned, and in the fifteenth century painters began to depict such donors with distinctive features presumably studied from life. gr. These portraits sometimes display a sense of affection, informality, or experimentation unusual in commissioned works. Even at its stiffest and most awkward, as in the case of George of Antioch at the Church of the Martorana in Palermo, it is always profoundly human and full of emotion (c. 1140, Fig. Indeed, we may suggest that it was perhaps possible to render the proffering of gifts more evident precisely because the imperial couple appears to be so confidently august that such a display would not compromise their power. New York: The Metropolitan Museum of Art, 2000. Figure 1.8: Emperor Alexios Komnenos, Panoplia Dogmatica, Biblioteca Apostolica Vaticana, Vatican, gr. In courtly settings, portraits often had diplomatic significance. From the 15th century Early Netherlandish painters like Jan van Eyck integrated, with varying degrees of subtlety, donor portraits into the space of the main scene of altarpieces, at the same scale as the main figures. Two examples from this period are Bishop Ecclesius being introduced to Christ by an angel in the apse of the Church of San Vitale in Ravenna (consecrated 548, Fig. Hans Memling was one of the most prominent and productive Netherlandish artists of the later fifteenth century. The Sources: An Annotated Survey, The Peasant as Donor (13th14th Centuries), Donation et donateurs dans le monde byzantin: Actes du colloque international de lUniversit de Fribourg (1315 mars 2008), Catalogue of the Greek Manuscripts in the Library of the Lavra on Mount Athos, Catalogue of Ancient Near Eastern Seals in the Ashmolean Museum, Cylinder Seals: A Documentary Essay on the Art and Religion of the Ancient Near East, Das illuminierte Buch in der sptbyzantinischen Gesellschaft, Lexicon Iconographicum Mythologiae Classicae, I relievi votivi greci de periodo aracaic e classico, Hier kal: Images of Animal Sacrifice in Archaic and Classical Greece, Art and Architecture of the Ancient Orient, The Mosaics of St Marys of the Admiral in Palermo, Dated Greek Minuscule Manuscripts to the Year 1200, Checklist of Manuscripts in the Libraries of the Greek and Armenian Patriarchate in Jerusalem, Transfigurations: Studies in the Dynamics of Byzantine Iconography, Procopius and the Imperial Panels of S. Vitale, Find out more about saving to your Kindle, Chapter DOI: https://doi.org/10.1017/9781108290517.002. What sector they work in or what business interests they have? ), Donation et donateurs dans le monde byzantin: Actes du colloque international de lUniversit de Fribourg (1315 mars 2008) (Paris: Descle de Brouwer, 2012), 12540. Figure 1.2: Despot Oliver, painting in narthex, Church of the Holy Archangels, Lesnovo, FYR Macedonia, 1341. [32], See particularly Roberts, 2224 for a review of the historiography as to the motivations of donors. A painting in the Catacombs of Commodilla of 528 shows a throned Virgin and Child flanked by two saints, with Turtura, a female donor, in front of the left hand saint, who has his hand on her shoulder; very similar compositions were being produced a millennium later. 1.19 and 1.20).Footnote 30. Instead, his bearing is filled with authority, and, as is so often the case, the scene as a whole resorts to a series of formal devices to prevent any lessening of it. Alexios shows no deference. Staying involved, attentive and organized - are the keys to my productivity. 1.9). Thus, right from the outset, each of these groups of languages adopts an entirely different outlook on the images. "useRatesEcommerce": false The traditions of portraiture in the West extend back to antiquity and particularly to ancient Greece and Rome, where lifelike depictions of distinguished men and women appeared in sculpture and on coins. [15], A particular convention in illuminated manuscripts was the "presentation portrait", where the manuscript began with a figure, often kneeling, presenting the manuscript to its owner, or sometimes the owner commissioning the book. This depiction of the supplicant together with the deity as a living figure is not unique to Byzantium, however. As you start to find the basic shape, dig into the details and look for commonalities across your supporter base. The chief contention of the first section of this chapter is that not all the scenes commonly included in the designation belong there. 34 For many more scenes of a similar type, see A. Comella, I relievi votivi greci de periodo aracaic e classico (Bari: Edipuglia, 2002). The reasons for this discrepancy are instructive. If art from antiquity was inspired by the writings of important thinkers such as Plato and Socrates, European portraits from the Middle Ages were based on teachings from the Bible. Before iconoclasm, supplicants are generally represented standing. Seriously. The elders in the story of Suzannah were some of the few figures respectable Venetians were unwilling to impersonate. Gr. PRINTED FROM OXFORD REFERENCE (www.oxfordreference.com).
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