Download PDF | Angeliki Lymberopoulou (ed.) - Cross-Cultural Interaction between Byzantium and the West, 1204-1669. Whose Mediterranean Is It Anyway? Routledge 2018.
371 Pages
The early modern Mediterranean was an area where many different rich cultural traditions came in contact with each other, and were often forced to co-exist, frequently learning to reap the benefits of co-operation. Orthodox, Roman Catholics, Muslims, Jews, and their interactions all contributed significantly to the cultural development of modern Europe. The aim of this volume is to address, explore, re-examine and re-interpret one specific aspect of this cross-cultural interaction in the Mediterranean – that between the Byzantine East and the (mainly Italian) West. The investigation of this interaction has become increasingly popular in the past few decades, not least due to the relevance it has for cultural exchanges in our present-day society. The starting point is provided by the fall of Constantinople to the troops of the Fourth Crusade in 1204. In the aftermath of the fall, a number of Byzantine territories came under prolonged Latin occupation, an occupation that forced Greeks and Latins to adapt their life socially and religiously to the new status quo. Venetian Crete developed one of the most fertile ‘bi-cultural’ societies, which evolved over 458 years. Its fall to the Ottoman Turks in 1669 marked the end of an era and was hence chosen as the end point for the conference. By sampling case studies from the most representative areas where this interaction took place, the volume highlights the process as well as the significance of its cultural development.
Angeliki Lymberopoulou is Senior Lecturer in Art History (late and postByzantine art) at The Open University, UK. Her research interests focus on Venetian Crete (1211–1669) and the cross-cultural interactions and exchanges between Greek Orthodox and Roman Catholic Christians in the wider Medi ter - ranean. She also examines Palaiologan Byzantine art produced in the major artistic centres during the last phase of the Empire – Constantinople, Thessaloniki and Mystras. She is the author of The Church of the Archangel Michael at Kavalariana: Art and Society on Fourteenth-Century Venetian-Dominated Crete (London, 2006) and co-editor (with Re
CONTRIBUTORS
Michele Bacci is Professor of Medieval Art History at the University of Fribourg, Switzerland. He is the author of several publications on the cultural and arthistorical contacts between East and West in the Middle Ages and on the history of the religious practices associated with cult-objects and holy sites. His single-authored publications include Il pennello dell’evangelista. Storia delle immagini sacre attribuite a san Luca (Pisa, 1998); ‘Pro remedioanimae’. Immagini sacre e pratiche devozionali in Italia centrale (secoli XIII e XIV) (Pisa, 2000); Lo spazio dell’anima. Vita di una chiesa medievale (Bari-Rome, 2005); San Nicola il Grande Taumaturgo (Bari-Rome, 2009); The Many Faces of Christ: Portraying the Holy in the East and West, 300–1300 (London, 2014); and The Mystic Cave: A History of the Nativity Church in Bethlehem (Brno, 2017).
Leslie Brubaker is Professor of Byzantine Art History, and Director of the Centre for Byzantine, Ottoman and Modern Greek Studies at the University of Birmingham. Her research focuses on the cult of the Virgin, ‘iconoclasm’, the relationship between text and image, manuscripts, and gender. Her numerous publications include Vision and Meaning in Ninth-Century Byzantium: Image as Exegesis in the Homilies if Gregory of Nazianzus (Cambridge, 1999), Byzan - tium in the Era of Iconoclasm: The Sources (with John Haldon; Cambridge, 2001) and Byzantium in the Iconoclast Era c. 680–850: A History (with John Haldon; Cambridge, 2011).
Ioanna Christoforaki is Assistant Research Fellow at the Research Centre for Byzantine and Post-Byzantine Art of the Academy of Athens. An alumna of the University of Athens (B.A.) and Oxford (M.Phil. and D.Phil.), she has also worked as an exhibition curator at the Hellenic Ministry of Culture. Her research interests focus mainly on the art and material culture in Latin Greece after the Fourth Crusade, the art-historical interchange between Byzantium and the West, and the patronage and iconography of the mendicant orders in the eastern Mediterranean. She was the organiser of an international conference on the Mendicant Orders in the Eastern Mediterranean: Art, Architecture and Material Culture (13th–16th c.), held in Nafplion, Greece, in April 2017.
Maria Constantoudaki-Kitromilides is Professor of Byzantine Archaeology and Art, and Director of the Museum of Archaeology and History of Art at the National and Kapodistrian University of Athens. She holds an M.A. from the Courtauld Institute of Art, University of London (where she studied on a scholarship from the British Council) and a Ph.D. from the University of Athens. In 2012 she was Visiting Professor in Florence, at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies. She has carried out extensive archival research in Venice (on a scholarship from the Academy of Athens) on the social history of artistic production in Venetian Crete (1211– 1669). Her research interests also include Byzantine and post-Byzantine painting and West–European relations; icons and frescoes; Domenikos Theotokopoulos (El Greco), all subjects on which she has published exten - sively. Rembrandt Duits is Deputy Curator of the Photographic Collection at the Warburg Institute, University of London. His research interests include Renaissance material culture, the iconography of medieval and Renaissance astronomy and astrology, historiography and Byzantine art. He is the author of Gold Brocade and Renaissance Painting: A Study in Material Culture (London, 2008) and co-editor (with Angeliki Lymberopoulou) of Byzantine Art and Renaissance Europe (Farnham, 2013).
Leonela Fundić holds a doctorate in Byzantine Art and History from the University of Thessaloniki, Department of History and Archaeology. Since 2013 she has been working for the Centre of Early Christian Studies at Australian Catholic University and for the School of Historical and Philo - sophical Inquiry at the University of Queensland. In 2017 she joined the Department of Ancient History of Macquarie University (Sydney) to work on the project Memories of Utopia: Destroying the Past to Create the Future. Her research focuses on Late Antiquity and Byzantine archaeology, art and history. Sharon E.J. Gerstel is Professor of Byzantine Art and Archaeology at the University of California, Los Angeles. She is author of Beholding the Sacred Mysteries: Programs of the Byzantine Sanctuary (Seattle and London, 1999) and has edited A Lost Art Rediscovered: The Architectural Ceramics of Byzantium (with J. Lauffenburger, University Park, PA, 2001), Thresholds of the Sacred: Architectural, Art Historical, Archaeological, Liturgical and Theological Views on Religious Screens, East and West (Washington, DC, and Cambridge, MA, 2007), Approaching the Holy Mountain: Art and Liturgy at St. Catherine’s Monastery in the Sinai (with R.S. Nelson, Brussels, 2010), and Viewing the Morea: Land and People in the Late Medieval Peloponnese (Washington, DC, 2013). Her most recent book, Rural Lives and Landscapes in Late Byzantium: Art, Archaeology, and Ethnography (Cambridge, 2015), was awarded the prestigious Runciman Award by the Anglo-Hellenic League in London (2016), the inaugural Book Prize by the International Center for Medieval Art (2016), and the Maria Theocharis Prize by the Christian Archaeological Society in Greece (2017). Together with Chris Kyriakakis (University of Southern California), Gerstel directs Soundscapes of Byzantium, an international project devoted to the study of acoustics, psychoacoustics, monumental decoration, architecture and chant.
Liz James is Professor of Byzantine Art History at the University of Sussex. She is currently engaged on a major research project funded by the Leverhulme Trust about Byzantine mosaics. This is the culmination of an on-going series of projects about mosaics, backed by the Leverhulme Trust (see: www.sussex. ac.uk/arthistory/research/byzantinemosaics). She is currently a member of the AHRC Peer Review College. Her latest book is Mosaics in the Medieval World: From Late Antiquity to the Fifteenth Century (Cambridge, 2017). Michalis Kappas is the head of the Department of Byzantine and post-Byzantine monuments in the Ephorate of Antiquities of Messenia in Kalamata, in the Peloponnese. Over the past 12 years he has directed an extensive restoration programme of more than 40 churches, monasteries and castles in the region. Kappas’ work focuses on the morphological and structural history of medi - eval buildings and their decoration, placing them in a broader social and economic context. He has published in leading academic journals on topics that range from the architecture and decoration of individual churches to regional studies of ecclesiastical architecture and painting. During the aca - demic year 2016–2017 Kappas was a fellow at Dumbarton Oaks. He is currently working on a monograph on the medieval village of Kastania in the Mani Peninsula.
Ágnes Kriza’s research interests include medieval Russian art, literature and theology, focusing on different contact points between text and image. She has recently completed her Ph.D. thesis at the University of Cambridge which investigates the fifteenth-century allegorical iconography of Sophia, Divine Wisdom from Novgorod. Currently she is a Humboldt fellow at the University of Cologne. Her research project “Visualized polemics against the West: Russian allegorical icon-painting revisited” seeks to explore the significance of Orthodox anti-Latin polemics for the history of medieval Russian art. Angeliki Lymberopoulou is Senior Lecturer in Art History (late and postByzantine art) at The Open University, U.K. Her research focuses on art produced on Venetian-dominated Crete (1211–1669) and its social context, including cross-cultural interactions especially in the island’s different regions. She is the author of The Church of the Archangel Michael at Kavalariana: Art and Society on Fourteenth-Century Venetian-Dominated Crete (London, 2006) and co-editor (with Rembrandt Duits) of Byzantine Art and Renaissance Europe (Farnham, 2013). Francesca Marchetti completed her Ph.D. at the Università di Bologna in 2011 on an illustrated Byzantine collection of medical texts (cod. 3632, Biblioteca Universitaria, Bologna). Her research interests focus on the tradition of illus - trated medical manuscripts in Byzantium and in the West, and on the role of illustration as medium for the transmission of knowledge in the pre-modern era. Andrea Mattiello is a Byzantine art and Contemporary art historian. He received a Master’s degree in History of Architecture and a Master’s in Visual Arts at the Università IUAV of Venice, and a Ph.D. in Theory and History of Art at the School for Advanced Studies in Venice. He is now completing a Ph.D. in Byzantine Art History at the Centre for Byzantine, Ottoman and Modern Greek studies at the University of Birmingham. His research focuses on the artistic production in Mystras during the Palaiologan period. Diana Newall tutors at The Open University and Sotheby’s Institute of Art, London, across a range of topics including Byzantine art, Modern and Con - temporary art. She is a Fellow of the Higher Education Academy and was the Konstantinos Leventis Research Fellow in Post-Byzantine Art at The Open University (2008–2010). Her research interests include cross-cultural and artistic interactions in late medieval and early modern Venetian-dominated Crete (1211–1699) and debates on globalisation in relation to the discipline of art history. Her publications include (with Grant Pooke) Art History: The Basics (London, 2008); co-author (with Christina Unwin) The Chronology of Pattern (Lewes, 2011); co-editor (with Grant Pooke) Fifty Key Texts in Art History (London, 2012); and chief editor of Art and Its Global Histories: A Reader (Manchester, 2017). Tassos Papacostas is Senior Lecturer in Byzantine Material Culture at King’s College London. His research and publications concentrate on; the architec - ture and archaeology of late antique and medieval Cyprus, the fate of its cities, and the impact of western architecture in the medieval and early modern eastern Mediterranean.
Alex Rodriguez Suarez holds a Ph.D. from the Centre for Hellenic Studies of King’s College London (2014). His thesis focused on the western presence in Byzantium and its impact during the reigns of Alexios I and John II. He studied History at the Universitat Autònoma of Barcelona and was awarded an M.A. in Late Antique and Byzantine Studies at the Royal Holloway University of London. In 2015–2016 he was fellow at ANAMED, Istanbul. More recently, he has been a fellow at the Centre for Advanced Study, Sofia (2017).
Dionysios Stathakopoulos is Senior Lecturer in Byzantine Studies at King’s College London. He has also taught at the University of Vienna and the Central European University in Budapest. His doctorate thesis on ‘Famines and Epidemics in Late Antiquity’ was published by Ashgate in 2004. He has published widely on disease, subsistence crises, the history of medicine, hospitals and physicians, charity, poverty and remembrance. His latest book is A Short History of the Byzantine Empire (London, 2014).
PREFACE
This publication is the outcome of the 48th Spring Symposium of Byzantine Studies, which was the first ever to take place at The Open University in Milton Keynes (28th–30th March 2015). The theme of the Symposium was the examination of evidence of cross-interaction between Byzantine Orthodox and western Roman Catholic cultures in the wider Mediterranean. I am aware that this theme is vast and has a number of different angles, perspectives, geographies, peoples, cultures and nuanced religious differences that could not all possibly be covered within the limited space of a two-and-a-half-day Symposium and its subsequent publication. As such, this volume aims at offering a high-quality and representative-sample examination to reflect this process and its multifaceted outcomes. I am equally well aware that the interaction of both of these cultures with Islam is of vital importance for the shaping of Mediterranean ‘identity’, a subject that has occupied many a conference in recent decades but that was, sadly, beyond the scope of the present volume. Issues of interactions and intercommunication between different ethnic and religious groups of people are of paramount importance for the comprehension of our own, current society. Embracing positive exchanges and accepting that questions of possession (‘Whose Mediterranean is it anyway?’) cannot and should not have rigid, dogmatic and inflexible answers could only be to our immense benefit. Accordingly, the cover of the volume represents the donors of the church of the Archangel Michael at Kavalariana, in Selino, in the south-western part of Chania, dated 1327–1328, that is, during Crete’s Venetian period. This group of native Cretan Orthodox donors chose an iconographically and stylistically Byzantine ‘look’ for the religious decoration of their church. At the same time, the male donors are depicted dressed in western contemporary fashion, while the inscription, in Greek, praises the rule of the Venetians, their ‘great masters’. This constitutes an important sample of visual evidence that reflects the interaction process already under way in the early fourteenth century between the two groups of inhabitants on Venetian Crete.
EDITORIAL POLICY
In rendering the Greek names and place-names mentioned in this volume the standard Anglicised forms have been used, where they exist (for example, Constantine instead of Konstantinos). In the remainder of the cases, following a trend that has been gaining acceptance recently, all names have been transcribed as literally as possible, avoiding the various Latinised versions (e.g. Komnenos instead of Comnenus). Obviously, in all publications cited in the endnotes of each chapter and in the reference sections, the names have remained unchanged and appear as their authors intended. The simple, single-accent system (μονοτονικό) currently in use in Modern Greek has been applied in all Greek references throughout the volume (πολυτονικό is used for Ancient and/or Medieval Greek that features in the chapters). In the list of figures, in the captions and in the text ‘wall painting’ (in places also ‘mural’) is used for the monumental decoration situated on Crete, Cyprus, the Peloponnese, and the Balkans in general, while ‘fresco’ for their counterparts found in Italy. The distinction reflects the need to ascertain the medium in monumental decoration in the Balkans. It also follows numerous publications on monumental Cretan art, which invariably employ the term ‘wall paintings’. Maps indicating various locations mentioned over the course of this volume can be found at the beginning of each section grouping the Mediterranean geographical areas (Crete, Cyprus, the Peloponnese, the wider Mediterranean) that the volume is divided into.
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