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JASMINA S. CIRIC – Fleur de lis heraldic emblem in Late Byzantine Architecture

“Fleur de lis” heraldic emblem in Late Byzantine Architecture.
Jasmina S. Ćirić (Université de Belgrade)

Paper explores the appearance of “fleur de lis” motif, its translation and heraldic implications on several Late Byzantine architectural examples. The motif was properly analyzed in numerous texts and studies which deals with the history of Western heraldry while such considerations in the history of Byzantine Art were almost entirely marginalized.  Within processes of the implementation of the heraldic lily and its placement on the façade of the Late Byzantine temples it is necessary to distinguish: motif translatio in terms of transfer from one material to another and motif translatio as “heraldic democratisation“ idea translated into church facade compartments. Passing through Late Byzantine architectural examples such as Holy Apostles Church and St. Catherine Church in Thessaloniki, Virgin Periblepta and Virgin Evangelistria Church in Mystra, it is shown that ‘fleur de lis’ in square motif translatio functioned almost to an accuracy within the same religious buildings: as brick ornaments on the facades and painted ornaments on ktetor’s costumes. That is clearly defined also in Virgin’s Church in Ljubostinja Monastery (Serbia) risen as a mausoleum probably after the Battle of Kosovo 1389. The fact that Prince Lazar heraldic emblem was helmet with ‘fleur de lis’ carved in Lazarica Church south facade, than that Lazar’s praise with lily ornamented cover for his relics (with embroidered words: “Rejoice You lily, You who have spun a wreath of glory for Your head”), represents parallel artistic ties with princess Milica’s golden ‘lilies in squares’ embroidered costume in ktetorial composition in Ljubostinja exonarthex, and placing those ornaments above the Ljubostinja Church west portal also.  Allusions to the wreath of glory are implicative for emphasizing the essence of Holy Sepulcher, Christ’s Descent to Hades, communion with the Christ Who was as lilium inter spinas. Heraldic ‘fleur de lis’ as a part of the ktetor’s visual statement/ heraldic conspicuous distinctiveness, could be seen as one of the several signs par excellence for idea of translatio, signs of transchronological/transterritorial importance for the ecclesiological identification of the Late Byzantine Universe.

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NIKOLAOS TRIVYZADAKIS – Recherches sur le phénomène du classicisme en Orient et en Occident

Recherches sur le phénomène du classicisme en Orient et en Occident entre le XIIIe et le XVe siècle.
Nikolaos Trivyzadakis (Université d’Aristote de Thessalonique)

À Byzance, les arts et les lettres, surtout lors de la période qui s’étend entre 1261 et jusqu’à 1453, sont caractérisés par un retour à l’héritage grec de l’âge classique. Les mêmes tendances font aussi leur apparition en Occident et culminent pendant l’époque de la Renaissance. Malgré le fonds commun des sources culturelles, la création artistique s’avère être exprimée par deux traditions bien distinctes. L’art grec oriental byzantin perçoit le passé par le biais du christianisme, élément cohérent à la civilisation grecque. C’est pourquoi l’art de la période des Paléologues s’inspire directement de l’art chrétien du premier millénaire. Par contre, les artistes en Occident recherchent leur inspiration directement sur le monde grec ancien. Ce mouvement se déclenche en principe après le schisme des églises et se développe parallèlement avec les conquêtes philosophiques et artistiques de la Renaissance.

En fait, cette constatation sur les deux différentes manières de perception et d’élaboration du classicisme rend parfaitement explicables les différences iconographiques et stylistiques entre Byzance et l’Occident pendant les XIIIe et XIVe siècles. Sans nier les influences et les emprunts artistiques parmi les deux mondes qui expliqueraient les analogies, il serait toutefois vain de poser la question de la dépendance ou même de l’affectation d’un art par rapport à l’autre.

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MARKA T. DJURIC – The monastery of king Marko near Skoplje

The Monastery of king Marko near Skoplje: The Research of the Influence of Liturgical poetry on the Iconographic Program.
Marka Tomić Djurić (Université de Belgrade)

The church of St Demetrius near Skoplje, known as the Monastery of king Marko was founded in 1346/1347, by the nobleman Vukašin Mrnjavčević and his eldest son Marko. It was completed under King Marko in 1376/1377. Frescos in the Monastery of king Marko represent an ensemble with high level of theological thought, presence of very complex iconography formulations and specific expressive style. The program of church decoration and quality of painting are representative examples of intellectual and artistic trends in the second half of the XIV century in Serbian and Byzantine art.

An important mechanism of representation of the program is based on liturgical poetry. One part of the research is devoted to correlation between iconography and hymnography.  Visual language of the Monastery of king Marko represents matured stage of poetry models and imagery, revealing the tendency of late Byzantine art of the inclusion of hymnography as bearers of theological argumentation.

The main iconographical formulations which illustrate this idea are: the theme of Heavenly Court and Imperial Deeisis, with poetic source in David’s psalms 44(45) and 88(89);  the illustration of Akathistos hymn; the complex iconography structure  of Christos Logos  with literary framework  of King Solomon’s Stories and the inspiration in Kanon on Holy Thursday of St Kosmas of Maiouma and  Canon on Easter of St John Damascene; the composition of the Death Christ and the Mother of God with the poetic genre of Threnos in Kanon on Good Friday of Symeon Logothet and the kontakion on Good Friday of Romanos Melodos, and  the iconography unit with the portraits of ktitors king Vukašin and king Marko at the south door of the church, formulated using David’s psalm 88(89).

The use of poetic models in the program of the Monastery of king Marko refers to strong influence of the church rite of the Holy Week  and also presents particular politico-ideological nature on the subject of  legitimacy of the dinasty and ruler.

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DIVNA MANOLOVA – Tales of Friendship : Nikephoros Gregoras and Maximos

Tales of Friendship: Nikephoros Gregoras and Maximos, Hegoumenos of the Chortaites Monastery.
Divna Manolova (Université Central European de Budapest)

Nikephoros Gregoras (ca. 1292/1295-1358/1361) addressed letters 20a, 20b, 21, 36, 100a and 100b (ed. P. A. M. Leone, 1982) to his friend Maximos, the hegoumenos of the Chortaites monastery. From letter 21 it becomes clear that both Maximos and Gregoras originate from the same city, namely from Herakleia Pontike. The characteristics of their friendship have not yet been researched in depth, nor has the connection between Gregoras and the monastery located near Thessaloniki been subjected to inquiry.

The present communication aims at presenting and analyzing the evidence provided by Gregoras’ correspondence, in order to discuss the nature of his relations with the Chortaites monastery and in particular, with the hegoumenos Maximos. The paper will address the characteristic features of Gregoras’ letters to Maximos and it will provide a concluding hypothesis as to the role Maximos played in the immediate circle of Gregoras’ friends.

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ALEXANDER RIEHLE – Literature, Socieyty and Politics in the Early Palaiologan Period

Literature, Society and Politics in the Early Palaiologan Period. The Letters of Nikephoros Choumnos.
Alexander Riehle (Université de Munich)

In previous scholarship, the rhetorical literature of the Byzantines, and epistolography in particular, has been most commonly regarded as an intellectual game—a pastime of a small, learned élite. However, Byzantine authors, especially in the late period, were deeply involved in the social and political discourse of their time. It is my objective to show that their literary output, specifically their letters, was pivotal to these dialogues. A close reading of the letters from the court of Nikephoros Choumnos (ca. 1260–1327) supports this assertion. The paramount goal of his letters was to establish and maintain social networks, to gain and affirm loyalty, and to advocate private concerns within an extremely fragile social and political environment. By publishing and circulating his letters, Nikephoros aimed to present himself both as a faithful servant of the emperor and as an influential, learned aristocrat.

My paper focuses on Nikephoros’ letter to his daughter Eirene (ep. 167 Boissonade) in order to reveal the significance of his writings to the current social and political concerns. Crucial to my hermeneutic approach is the fact that the stylistic means employed by the author was not merely ornamental. One does not need sift out style in order to understand the meaning of the text, as suggested by Cyril Mango in Byzantine Literature as a Distorting Mirror. Rather, style contains and conveys the message of the text, and therefore must be examined as an integral part of the given literary piece.  In this way it is possible to gain new insights into the highly elaborate genre of Byzantine epistolography.