Download PDF | Liz James, Art and text in Byzantine culture, Cambridge University Press, 2007.
230 Pages
Art and Text in Byzantine Culture explores the relationship between images and words and examines the different types of interactions between pictures and texts in Byzantine art. Byzantium is the only major world power to have experienced political upheaval on a vast scale as a result of an argument about art. Conse- quently, the dynamic between art and text in Byzantium is essential for under- standing Byzantine art and culture. It allows us to explore the close linking of image and word in a society where the correct relationship between the two was critical to the well-being of the state.
Composed of specially commissioned essays written by an international team of scholars, this volume analyses how the Byzantines wrote about art, how images and text work together in Byzantine art, and how the words written on Byzantine artworks contribute to their meaning. Liz James is Reader in Art History at the University of Sussex and Associate Director of the AHRC Centre for Byzantine Culture History. She is the author of Empresses and Power in Early Byzantium.
ACKNOWLEDGMENTS
It was Jas Elsner who suggested that a book on art and text in Byzantium would be a good thing and I am grateful to him and all the contributors for their enthusiasm for the project. The book was put together under the auspices and with the support of the AHRC Centre for Byzantine Cultural History and its Director, Margaret Mullett. I would also like to acknowledge the support of the Kress Foundation, a grant from which made it possible to publish the illustrations to Bissera Pentcheva's chapter in colour.
I'm very grateful to Simon Lane, Slide Librarian at the University of Sussex, for all his help with the images and the trials that they have posed; to Bente Bjørnhelt for typing up the Greek texts; to Michelle O'Malley and Jas Elsner for reading and commenting on various bits; and to the anonymous readers ar Cambridge University Press for their observations.
I would also like to thank Beatrice Rehl at Cambridge University Press for her support and patience throughout the time of this project. A note on transliterations: transliterations have been the usual nightmare. I have tried to make names as accessible as possible and have therefore tended ro use familiar versions for the most familiar names (Procopius rather than Prokopios, Bacchos rather than Bakchos) and otherwise to rely on the versions given in the Oxford Dictionary of Byzantium. If che inconsistencies bother you. then I'm sorry.
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