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
Arts of the City Victorious: Islamic Art and Architecture in Fatimid North Africa and Egypt
This is the first book-length study of the art and architecture of the Fatimids, the Ismaili Shi'i dynasty that ruled in North Africa and Egypt from 909 to 1171. The Fatimids are most famous for founding the city of al-Qahira (Cairo) in 969, and their art--particularly textiles and luster ceramics, but also metalwork and carved rock-crystal, ivory and woodwork--has been admired for nearly a millennium. In this engaging and accessible book, Jonathan M. Bloom concentrates on securely dated and localized examples of Fatimid art and architecture. His discussions focus on significant examples and are illustrated with over 100 photographs, many in color, and extensive notes and bibliography provide guidance for further reading and research.
Byzantine Credulity as an Impediment to Antiquarianism
Byzantine descriptions of their own art have puzzled art historians. Not only have Byzantine writers described it as realistic, they also appear to have been oblivious to the distinction in style between Byzantine and ancient art. Two explanations of these puzzling features of Byzantine descriptions have been offered. One appeals to the presumed influence of ancient descriptions (ekphraseis) of art. The other appeals to the Byzantine observer's limited acquaintance with the realism of ancient Greek and Roman art. A third explanation is advanced here. It is based on the willingness of the Byzantines to accept claims that many of their highly venerated images were created in the time of Christ and the apostles. As a result, the Byzantines came to regard as representative of the art of antiquity images that in fact mirrored their own art.