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Byzantine Art

Code: 100563 ECTS Credits: 6

2024/2025

Degree	Type	Year
2500239 Art History	OB	3

Contact

Name:: Manuel Antonio Castiñeiras Gonzalez
Email:: manuel.castineiras@uab.cat

Teachers

: Manuel Antonio Castiñeiras Gonzalez

Teaching groups languages

You can view this information at the end of this document.

Prerequisites

A minimum knowledge of English or French is recommended in order to carry out the supervised and autonomous activities. It's worth remembering that most of the material for the course works are written in English.

The teaching methodology and the evaluation proposed in the guide may undergo some modification subject to the onsite teaching restrictions imposed by health authorities.

Objectives and Contextualisation

Context

This course is part of the general subject Medieval Art History, of 24 ECTS, which includes four courses:Art in Europe from the 4th to the 10th centuries, Byzantine Art, Romanesque Art and Gothic Art.

The aim of this course is to lay the ground to enable the student to know and be familiar with basic knowledge of the chronological development of the artistic image, its formal values, its iconographic meanings, artistic techniques and procedures as well as its reception in the Byzantine milieu.

Students are expected to acquire on the course analytical, comparative and critical tools and basic methodology in order to acknowledge several forms of cultural expression and mainly to place Byzantine forms of expression within their geographical and political framework as well as their transmission in Europe, the Slav world, the Eastern Mediterranean countries and the Middle East.

Goals

1-Students are expected to acquire deep knowledge on the Arts of Byzantium or Byzantine-like expressions with a particular focus on its chronological, formal and typological development within the Byzantine milieu.

2- The ultimate goal of the course is to acquire deep knowledge on the connections between Art and the historical, political and cultural background of Byzantine society and its areas of influence, as well as on the several functions and contents of the artwork within this period.

Competences

Critically analysing from the acquired knowledge a work of art in its many facets: formal values, iconographic significance, artistic techniques and procedures, elaboration process and reception mechanisms.
Interpreting a work of art in the context in which it was developed and relating it with other forms of cultural expression.
Recognising the evolution of the artistic imagery from the antiquity to the contemporary visual culture.
Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
Students must develop the necessary learning skills in order to undertake further training with a high degree of autonomy.

Learning Outcomes

Accurately defining and explaining an artistic object with the specific language of art criticism.
Analysing ideas about an artistic phenomenon in a given cultural context.
Analysing the creators of an artistic phenomenon in a specific cultural context.
Analysing the recipients of an artistic phenomenon in a specific cultural context.
Applying the iconographic knowledge to the reading of artistic imagery.
Connecting an artistic imagery with other cultural phenomena within its period.
Distinguishing the elaboration techniques and processes of an artistic object.
Efficiently presenting knowledge in oral and written form.
Encouraging creativity and fomenting innovative ideas.
Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
Explaining the reception mechanisms of a work of art.
Identifying the artistic imagery, placing it into its cultural context.
Reconstructing the artistic outlook of a particular cultural context.
Working in teams, respecting the other's points of view and designing collaboration strategies.

Content

Unit 1. The Arts of Byzantium: Introduction. Justinian’s prestigious models: architecture, mosaics, manuscript illumination, enamels, ivories and metalwork objects. Byzantine aesthetics, religious settings and expressions of faith: icons and the cult of sacred images. - Pilgrimage Art in Byzantium: (IV-X centuries): Eulogia, Charisteria and Encolpia.

Unit 2. The Art of Coptic Christianity: Byzantine Egypt.Monasticism, churches and rock sites. Iconography and visual content. Textiles. Liturgical implements. Icons and manuscript illumination.

Unit 3. Towards a Christian Orthodox Empire (680-843): Iconoclasm and the resolution of the Iconoclastic controversy. Islamic invasion: Umayyad Art and Byzantine Art. Iconoclasm as a sociological and conceptual phenomenon. Second Council of Nicaea (787). The role of women. Wall paintings, icons and manuscript illumination.

Unit 4. Middle Byzantium (843-1204): Byzantium’s continuous engagement with its ancient past and the re-establishment of icon veneration. Macedonian and Komnenian Renaissance. -Courtly Art: architectural renewal of Constantinople. -Art in the monastery: domed cross-in-square plan. The Hosios Loukas model. -Mount Athos. -Cappadocia: architecture and rock painting. –Second flowering of Hellenistic aesthetics: an intensified revival of interest in classical art forms and ancient literature: mosaics, manuscript illumination, and ivory carving. Komnenian painting: pathosand movement. Mosaic and fresco programmes decorating vaulted and domed spaces to complement narrative.

Unit 5. The Arts ofArmenia: Peculiarities of the Armenian Christianity. The Armenian principalities. The Armenian Kingdom of Cilicia. Greater Armenia and Lesser Armenia. –Armenia and Byzantium (9^th-11^th centuries): architecture, carved reliefs and wall paintings. Aght’amar. Khatchkar. Manuscripts and metalwork objects. –Armenia and the Crusades (12^th century). The Arts of the Great Armenia (13^th-15^th centuries): architecture and manuscript illumination.

Unit 6. Byzantium and the West: Italy, maritime trade and Constantinople: bronze doors. –Interchange networks within the Crusades and the Latin Conquest of Byzantium: the concept of Crusader Art. -Venice, Norman Sicily, Cyprus and the Holy Land. Architecture and pictorial arts: circulation of Constantinopolitan models and local traditions. St. Mark’s Treasure. Byzantine models in the West.

Unit 7. Palaiologan Renaissance: Colourful use of materials and decorative motifs.Constantinople, Thessaloniki and Mystras. New pictorial humanism:narrative, expression, mimesis and antiquarism.The Manual of the Painter of Mount Athos. Presence of Byzantine Art in Spain: the Skylitzes matritensis, The Cuenca diptych and the Akathistos Escurialensis.

Unit 8. Byzantine Art: from the Balkans to Russia: Serbia,Bulgaria and Moravia. Russian-Byzantine architecture: Kiev and Novgorod. Moscow: the third Rome. Ivories and icons. Theophanes the Greek and Andrei Rublev.

Unit 9. Women andarts in Byzantium. Linage, education, patronage and devotions.

Activities and Methodology

Title	Hours	ECTS	Learning Outcomes
Type: Directed
Lessons (From Units 1 to 9), tuition and study (Units 1-9)	120	4.8	1, 2, 3, 4, 5, 6, 7, 10, 11, 12, 13, 14
Type: Supervised
Seminars and discussions in the classroom	10	0.4	2, 3, 4, 6, 7, 11, 13, 14
Type: Autonomous
To write a review paper to be delivered	20	0.8	2, 3, 4, 5, 7, 10, 12, 14

Master classes, class discussions and seminars, compulsory readings and book review, individual exercises.

Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to

evaluate their lecturers and their courses or modules through questionnaires.

The teaching methodology and the evaluation proposed in the guide may undergo some modification subject to the onsite teaching

restrictions imposed by health authorities

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.

Assessment

Continous Assessment Activities

Title	Weighting	Learning Outcomes
First Evidence: Review and questionnaire on the reading of a book or articles	20%	1, 2, 3, 4, 5, 6, 7, 10, 11, 12, 13
Second Evidence: first exam	30%	1, 14
Third Evidence: second exam	50%	2, 5, 6, 8, 9, 12, 13, 14

I-Continous evaluation:

First exam: Units 1-2-3-

Second exam:Units 4-5-6-7-8-9

Control of compulsory readings: article or book review

The final grade will be the result of the addition of the book/or article review (20%), the first exam (30%) and the second exam

(50%).

To pass the cours, the student must add a minimum of 50% of the total score.

The student who does not pass the course and has a minimum final grade of 3.5 may take a reassessment exam in which he will be

examined of the suspended part.

As far the reassessment exam is concerned, its date is officilly fixed. Who has not submitted the book/article review cannot

pass this exam.

Students will receive the grade of "Not evaluable" as long as they have not submitted more than 30% of the evaluation activities.

At the time of each evaluation activity, the teacher will inform the students (Moodle) of the procedure and date of revision of the

grades.

In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an

assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the

event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this

subject

II-Unique evaluation:

The single assessment will consist of a written test that includes the first (30%) and second (50%) exams (80% of the total mark), and the delivery of a review of a book or article (20% of the total mark).

Bibliography

BIBLIOGRAPHY

The most relevant bibliography is marked with an *

Basic

Acheimastou-Potamianou, Mirtaly, Greek Art. Byzantine Wall-Paintings, Atenes, 1994.

Beckwith, John, Arte paleocristiano y bizantino, Cátedra, Madrid, 1997 (1ª ed. ang. Harmondsworth , 1970) *

Byzance. L’art byzantin dans les collections publiques française, Jannic Durand (ed.), Musée du Louvre, Paris, 1992.*

Byzantium and Islam. Age of Transition, 7th-9th Century, Helen C. Evans, Brandie Ratliff (eds.), The Metropolitan Museum of Art, New York, 2012.*

Byzantium: Faith and Power (1261-1557). Perspectives on Late Byzantine Art and Culture, Helen C. Evans (ed.), The Metropolitan Museum of Art, New York, 2007.*

http://www.metmuseum.org/research/metpublications/Byzantium_Faith_and_Power_1261_1557

Cameron, Averil, Byzantine Matters, Princeton University Press, Princeton, NJ., 2014.*

Cameron, Averil, Cuestiones Bizantinas, Edicions Bellaterra, Bellaterra, 2017.*

Castiñeiras González, Manuel Antonio, Un universo de imágenes: el Skylitzes Matritensis, Tesoros de la Biblioteca Nacional de Espala, Ministerio de Cultura, Madrid, 2024.*

Cavallo, Guglielmo, Leer en Bizancio, Ampersand, Buenos Aires, 2017.*

Cormack, Robin, Byzantine Art, Oxford History of Art, Òxford, 2000.*

Cortés Arrese, Miguel Ángel., Bizancio: el triunfo de las imágenes sagradas, Biblioteca Nueva, Madrid, 2010.*

Cortés Arrese, Miguel Ángel, Nostalgia de porvenir. Navegando hacia Bizancio con El Greco de Toledo, Biblioteca Nueva, Madrid, 2015. *

Curcic, Slobodan, Architercture in the Balkans. From Diocletianto Süleyman the Magnificient,Yale University Press, New Haven-Londres, 2010.*

Cutler, Anthony., Spieser, J-M., Byzance Médiévale, 700-1204, Paris, 1996.

Florenski, Pavel., La perspectiva invertida, ed. F. Pereda, Siruela, Madrid, 2005.*

Florenski, Pavel, El iconostasio. Una teoría estética.Ediciones Sígueme. 2018. *

Grabar, André, La iconoclastia bizantina, Akal, Madrid, 1998 (1ª ed. fr. París, 1984).*

Lecturas de Bizancio. El legado escrito de Grecia en España, eds. Miguel Cortés Arrese, Inmaculada Pérez Martín, Biblioteca Nacional de España, Madrid, 2008.*

Hell in the Byzantine World. A History of Art and Religion in Venetian Crete and the Eastern Mediterranean, ed. Angeliki Lymberopoulou, 2 vols. Cambridge University Press, Cambridge, 2020.*

Herrin, Judith, Ravenna: Capital of Empire, Crucible of Europe, Penguin, 2021*

Holy Images. Hallowed Ground. Icons from Sinai, Robert. S. Nelson, Kristen. M. Collins (eds.), The John Paul Getty Museum, Los Angeles,2006.*

Hourihane, Colum (ed.), Byzantine Art: Recent Studies, Essays in Honor of Lois Drewer: Volume 378 (Medieval and Renaissance Texts and Studies, State University of New York at Binghamton,Medieval & Renaissance Texts & Studies 2009.*

Icons of Space. Advances in Hierotopy, Ed. Jelena Bogdanović, Routledge, New York, 2021.*

Jorba, Montserrat, Les majestats de la Cerdanya, Edicions Saloria, Barcelona, 2017.

Krautheimer, Richard, Arquitectura paleocristiana y bizantina, Cátedra, Madrid 1984 (1ª ed. ing. The Pelican History of Art, 1965)*

L’Art Byzantin, Art Européen, Conseil de l’Europe, Atenes, 1964.

L’artista a Bisanzio e nel mondo cristiano-orientale, Michele Bacci (ed.), Seminari e Convegni, 12, Edizioni della Scuola Normale Superiore di Pisa, Pisa, 2007.

Lazarev, Viktor,Storia della pittura bizale University Press, New Haven-Londres, 2010.*

Lodwen, John., The Octateuchs. A Study in Byzantine Manuscript Illumination, The PennsylvaniaState University, University Park, Pennsylvania,1992.

Lowden, John., Early Christan & Bizantine Art, Phaidon, Londres, 1997 (2008).*

Mango, Cyril, Arquitectura bizantina, Aguilar, Madrid, 1975.*

Masuda, Tomoyuki, Byzantine Cappadocia, Leiden, Alexandros Press, 2022.*

Matthews, Thomas F., The Art of Byzantium, Hong Kong, 1998.*

Milner-Gulland Robin, Andrey Rublev: The Artist and His World (Medieval Lives , Reaktion Books, 2023*

Ousterhout, Robert, Master Buiders of Byzantium, Princeton University Press, Princeton, NJ, 1999.*

Paloumpis Hallick, Mary,The Story of Icons, Brookline, Mass., 2001.

Piers, Glenn A,. Byzantine Media Subjects, Cornell University Press, 2024.*

Polemis, Ioannis, Theodore Metochites: Patterns of Self-Representation in Fourteenth-Century Byzantium (New Directions in Byzantine Studies), I. B. Tauris, 2023.*

Pitarakis, Brigitte, Les croix-reliquaires pectorales byzantines en bronze, Picard, París,2006.

Rodley, Lyn, Byzantine Art and Architecture. An Introduction, Cambridge, 1994.

Runciman, Steven, Byzantine. Style and Civilization, Penguin Books, Harmondsworth,1987 (1971).*

Santa Sofia y San Salvador de Cora: el legado bizantino en peligro (número especial del Boletín de la Sociedad Española de Bizantinística, 36, 2020, coord. per Manuel Castiñeiras) *:

-Manuel Castiñeiras, “La Μεγάλη ἐκκλησία: un edificio admirable”, pp. 5-25
-Inmaculada Pérez Martín, “San Salvador de Cora, ayer y hoy”, pp. 79-88.
-Alfredo Calahorra, “El Patrimonio Palatino de Constantinopla (ss. XIX-XXI): itinerario, valoración y perspectivas de futuro”, pp. 106-126.

https://bizantinistica.blogspot.com/p/boletin.html

https://drive.googleale University Press, New Haven-Londres, 2010.*

Runciman, Steven, Byzantine. Style andCivilization, Penguin Books, Harmondsworth, 1987 (1971).*

Santa Sofia ySan Salvador de Cora: el legado bizantino en peligro (número especial del Boletín de la Sociedad Española deBizantinística, 36, 2020, coord. per Manuel Castiñeiras) *:

https://bizantinistica.blogspot.com/p/boletin.html

https://drive.google.com/.com/.../1cn2hkFRdQbXantina, Milán, 1967.

Schwartz, Ellen C., Oxford Handbook of Byzantine Art and Architecture, Oxford Uninversity Press, Oxford, 2021. *

Spatharakis, Ioannis,TheIllustrations of the Cynegetica in Venice, Alexandros Press, Leyden, 2004.*

Tsamakda, Vassiliki, The Illustrated Chronicle of Ioannes Skylitzes in Madrid, Alexandros Press, Leyden,2002.*

Teteriatnikov, Natalia B., Justiniac Mosaics of Hagia Sophia and Their Aftermath, Dumbarton Oaks Research Library, Washington, DC, 2020.*

The Glory of Byzantium: Art and Culture in the Middle Byzantine Era, A.D. 843-1261, Helen C. Evans, William D. Wixom (eds.), The Metropolitan Museum of Art, New York, 1997.*

http://www.metmuseum.org/research/metpublications/The_Glory_of_Byzantium_Art_and_Culture_of_the_Middle_Byzantine_Era_AD_843_1261

The Holy Apostles. A Los Monument, a Forgotten Project, and the Presentness of the Past, ed. Margaret Mullett i Robert G. Ousterhout, Dumbarton Oaks Research Library, Washington DC, 2020.*

The Oxford Handbook of Byzantine Studies, Elizabeth Jeffreys, John Haldon, Robin Cormack (eds.), Oxford University Press, Oxford, 2008.

Tradigo, Alfredo, Icone e Santi d’Oriente, Electa, Milà, 2004.*

Treasures of Mount Athos, Athanasios A. Karakatsanis, Salònica, 1997.

Vallejo Girvés, Margarita, Vizcaíno Sánchez, Jaime, En el umbral del Imperio. Nuevas miradas a la Hispania bizantina, Universidad de Alcalá de Henares, Alcalá de Henares, 2023. *

Vanderheyde, Catherine, La sculpture byzantine du IXe au XVe siècle: Contexte, mis en oeuvre, décors, Picard, Paris, 2020.*

Velmans, Tania (ed.), El mundo del Icono: desde los orígenes a la caída de Bizancio, San Plablo, Madrid, 2003.*

Velmans, Tania (ed.), El Icono: de la caída de Bizancioalsiglo XX, Ediciones Mensajero, Madrid, 2021.*

Vikan, Gary, Early Byzantine Pilgrimage Art, DumbartonOaks Byzantine Collection Publications, 3, Washington, DC, 1982 (2010).

Vizcaíno Sánchez Jaime, La presencia bizantina en Hispania (siglos VI-VII): la documentación arqueológica, Universidad de Murcia, 2009.*

Weitzmann, Kurt (ed.), The Icons, London 1982 (1990).*

Westbrook, Nigel, The Great Palace in Constantinople. An Architectural Interpretation, Brepols, Turnhout, Belgium, 2019.*

Coptic and Armenian art

Armenia sacra. Mémoire chrétienne des Arméniens (IVè-XVIIIè siècle), Musée du Louvre, París, 2007.*

Castiñeiras, Manuel, "Arte y monacata de Armenia: santos, gavits y scriptoria", en Los otros monacatos. Experiencias monásticas en el Próximo Oriente, ed. Ramón Teja, José Ángel García Cortázar, Aguilar de Campoo (Palencia), 2023, p. 171-221.

Der Nersessian, Sirarpie, L’Art Arménien, Flammarion, Paris, 1989.*

Gabra, Gawdat, Eaton-Krauss, Marianne, The Treasures of Coptic Art in the Coptic Museum and Churches of Old Cairo,The American Unversity in Cairo Press, El Cairo-New York, 2005.

Interactions. Artistic Interchange between the Eastern and Western Worlds in the Medieval Period, Colum Hourihane (ed.), Index of Christian Art, Penn State University, 2007.

Wipszycka, Eva, The Second Gift of the Nile: Monks and Monasteries in Late Antique Egypt. University of Warsaw, Varsòvia, 2018.*

Byzantium and the Latin West

Cliento,Adele, I mosaici bizantini nella Sicilia normanna-Byzantine Mosaics in Norman Sicily, Ediz. Illustrate

Magnus, 2018.*

Demus, Otto, The Mosaics of Norman Sicily, London, 1949.*

Demus, Otto, Byzantine Art and the West, London, 1970.*

Demus, Otto., The Mosaics of San Marco in Venice, 4 vols., WashingtonDC-Chicago-Londres, 1984.

El arte sículo-normando,Milan, 2004.

Folda, Jaroslav, The Art of the Crusaders and the Holy Land (1098-1187), Cambridge University Press, Cambridge, 1995.*

Folda, Jaroslav, Crusader Art in the Holy Land, from theThird Crusade to the Fall of Acre, 1187-1291, Cambridge University Press, Hong Kong, 2005

Iacobini, Antonio (ed.), Le porte del Paradiso. Arte etecnologia bizantina tra Italia e il Mediterraneo, Roma, 2009.

Maguire, Henry, Nelson, Robert S. (eds.), Byzantium and the Myths of Venice, Dumbarton Oaks Research Library and Collection, Washington DC, 2010.

The Year 1200. A Centennial Exhibition at the Metropolitan Museum of Art, Kurt Hoffmann (ed.), The Metropolitan Museum of Art, New York, 1970 (2 vols.). http://www.metmuseum.org/research/metpublications/the_year_1200_a_centennial_exhibition_at_the_metropolitan_museum_of_art

Tronzo, William, The Cultures of his Kingdom: Roger II and the Cappella Palatina in Palermo, Princeton University Press, Princeton, 1997.

<ahref="http://www.metmuseum.org/research/metpublications/the_year_1200_a_background_survey">http://www.metmuseum.org/research/metpublications/the_year_1200_a_background_survey

Russia

lpatov, Mijail, Tesoros del arte ruso, Barcelona, 1967.

Cacciari, Massimo, Iconos. Imágenes extremas, Casimiro, Madrid, 2011.

Papaioannou, Kostas, Pintura bizantina y rusa, Madrid, 1968.

DVD

Andrei Roublev, Andreï Tarkovski, 1966.
Holy Image. Hallowed Ground. Icons from Sinai, november 14, 2006-March 4, 2007, J. P. Getty Museum, Los Angeles, 2006

Texts

Arte Medieval I. Alta Edad Media y Bizancio, ed. Joaquin Yarza et alii, Barcelona, Gustavo Gili, 1982.

Damasco, Juan de, Sobre las imágenes sagradas, ed. i trad. José B. Torres Guerra, EUNSA, Pamplona, 2019.*

Mango, Cyril, The Art of the Byzantine Empire, 312-1453: Sources and Documents, University of Toronto Press, 1986.

The Painter Manual of Dionysius of Fourna, ed. Paul Hetherigton, Londres, 1981 (1974)

WEBSITES

Museums

www.doaks.org (Dumbarton Oaks Collection)

www.benaki.gr (Benaki Museum, Athens)

www.culture.gr (Byzantine and Christian Museum, Athens)

www.alincom.com/tretiakov (The State Tretyakov, Moscow)

Byzantine Art

The Sveltana Tomekovic Database of Byzantine Art: http://ica.princeton.edu/tomekovic/
Byzantium 1200 (3-D virtualreconstruccions of Byzantine monuments): http://www.byzantium1200.com/
Iconotheque Numerique HAAByzance (C. Vanderheyde)/ Université Libre de Bruxelles http://bib18.ulb.ac.be/cdm4/browse.php?CISOROOT=/shu022&CISOSORT=title|r&CISOSTART=1,21
Student Network for Byzantine and Medieval Studies http://snbms-ucy.weebly.com/
Porphyrahttp://www.porphyra.it
Documentary on Mount Athos: https://athosweblog.com/2016/12/26/1877-athos-film-with-drone-scenes/