Middle Byzantine Aesthetics Of Power And The Incomparability Of Islamic Art: The Architectural Ekphraseis Of Nikolaos Mesarites
The Palace Revolt of John Komnenos by Nikolaos Mesarites, an author of the middle Byzantine period , contains a passage that briefly describes an Islamic-style building, the Mouchroutas, which was part of the imperial palace complex in Constantinoples. Scholars typically treat the passage as a descriptive document upon which to base hypothetical reconstructions of the Mouchroutas. While the archaeological potentials of the ekphrasis are unusually rich, a focus on these aspects of the text has obscured other possible interpretations, in particular its significance as a record of the Byzantine reception of Islamic art. The building marks an intriguing instance of artistic emulation in the midst of a predominantly adversarial political relationship. The kiosk tiles are executed in mināʾī, a highly refined overglaze technique of polychrome painting more commonly found in ceramic vessels. Keywords: Byzantine aesthetics; ekphrasis; Islamic art; John Komnenos; Mouchroutas; Nikolaos Mesarites
Some Remarks on the Significance of Gold Based on Byzantine Ekphraseis of Works of Art
The abundance of gilding is considered to be a particularly characteristic feature of Byzantine art. This attribute can be confirmed by even a cursory analysis of works of art. In short, Byzantine artists used gold on a large scale, showing great technical skill. It is therefore quite surprising that this issue has not yet received a separate, comprehensive study. Admittedly, researchers recognize the presence of gold but unfortunately, they almost do not go beyond general observations. On the one hand, they emphasize the primary role of the symbolic meanings of gold, and, on the other, they indicate the high material value of this precious metal. These comments are usually very general and their authors rarely refer to specific primary sources. Their observations, however, speak more about present-day ideas about Byzantine culture than about it itself. The indicated problem is an important and extensive task to be done, hence this paper is only an outline of the most important questions, each of which requires a separate and in-depth study. Therefore, this synthetic article introduces the most basic points associated with the understanding of gold in Byzantium. For this purpose, selected examples of Byzantine texts in which their authors referred to gold in a strictly artistic context are analysed. Thus, the main thesis is as follows: in Byzantine painting, gold, one of the most important devices of artistic expression, was used on a large scale primarily for aesthetic reasons.
Yeats, Eliot, Pound and the Politics of Poetry: Richest to the Richest
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