This volume publishes twelve papers that were delivered at an academic symposium held at The Metropolitan Museum of Art, New York, on April 16-18, 2004, in conjunction with the exhibition, "Byzantium: Faith and Power (1261-1557)" (held at The Metropolitan Museum of Art from March 23 to July 5, 2004).

The fall of the Byzantine capital of Constantinople to the Latin West in 1204 during the Fourth Crusade abruptly interrupted nearly nine hundred years of artistic and cultural traditions. In 1261, however, the Byzantine general Michael VIII Palaiologos triumphantly re-entered Constantinople and reclaimed the seat of the empire, initiating a resurgence of art and culture that would continue for nearly three hundred years, not only in the waning empire itself but also among rival Eastern Christian nations eager to assume its legacy. Byzantium: Faith and Power (1261–1557), and the groundbreaking exhibition that it accompanies, explores the artistic and cultural flowering of the last centuries of the "Empire of the Romans" and its enduring heritage. Conceived as the third of a trio of exhibitions dedicated to a fuller understanding of the art of the Byzantine Empire, whose influence spanned more than a millennium, "Byzantium: Faith and Power (1261–1557)" follows the 1997 landmark presentation of "The Glory of Byzantium," which focused on the art and culture of the Middle Byzantine era—the Second Golden Age of the Byzantine Empire (843–1261). In the late 1970s, "The Age of Spirituality" explored the early centuries of Byzantium's history. The present concluding segment explores the exceptional artistic accomplishments of an era too often considered in terms of political decline. Magnificent works—from splendid frescoes, textiles, gilded metalwork, and mosaics to elaborately decorated manuscripts and liturgical objects—testify to the artistic and intellectual vigor of the Late and Post-Byzantine era. In addition, forty magnificent icons from the Holy Monastery of Saint Catherine, Sinai, Egypt, join others from leading international institutions in a splendid gathering of these powerful religious images. While the political strength of the empire weakened, the creativity and learning of Byzantium spread father than ever before. The exceptional works of secular and religious art produced by Late Byzantine artists were emulated and transformed by other Eastern Christian centers of power, among them Russia, Serbia, Bulgaria, and Cilician Armenia. The Islamic world adapted motifs drawn from Byzantium's imperial past, as Christian minorities in the Muslin East continued Byzantine customs. From Italy to the Lowlands, Byzantium's artistic and intellectual practices deeply influenced the development of the Renaissance, while, in turn, Byzantium's own traditions reflected the empire's connections with the Latin West. Fine examples of these interrelationships are illustrated by important panel paintings, ceramics, and illuminated manuscripts, among other objects. In 1557 the "Empire of the Romans," as its citizens knew it, which had fallen to the Ottoman Turks in 1453, was renamed Byzantium by the German scholar Hieronymus Wolf. The cultural and historical interaction and mutual influence of these major cultures—the Latin West and the Christian and Islamic East—during this fascinating period are investigated in this publication by a renowned group of international scholars in seventeen major essays and catalogue discussions of more than 350 exhibited objects.

Serves as both visual and textual record of the exhibition of the same name, surveying the art of the Middle Byzantine period from the restoration of the use of icons by the Orthodox Church in 843 to the occupation of Constantinople by the Crusader forces from the West from 1204 to 1261. Conceived as a sequel to the 1976 exhibition "Age of Spirituality," which focused on the first centuries of Byzantium. Preceding the catalogue, 17 essays treat the historical context, religious sphere, and secular courtly realm of the empire, and the interactions between Byzantium and other medieval cultures. Abundantly illustrated. Annotation copyrighted by Book News, Inc., Portland, OR

This magnificent volume explores the epochal transformations and unexpected continuities in the Byzantine Empire from the 7th to the 9th century. At the beginning of the 7th century, the Empire's southern provinces, the vibrant, diverse areas of North Africa and the eastern Mediterranean, were at the crossroads of exchanges reaching from Spain to China. These regions experienced historic upheavals when their Christian and Jewish communities encountered the emerging Islamic world, and by the 9th century, an unprecedented cross- fertilization of cultures had taken place. This extraordinary age is brought vividly to life in insightful contributions by leading international scholars, accompanied by sumptuous illustrations of the period's most notable arts and artifacts. Resplendent images of authority, religion, and trade—embodied in precious metals, brilliant textiles, fine ivories, elaborate mosaics, manuscripts, and icons, many of them never before published— highlight the dynamic dialogue between the rich array of Byzantine styles and the newly forming Islamic aesthetic. With its masterful exploration of two centuries that would shape the emerging medieval world, this illuminating publication provides a unique interpretation of a period that still resonates today.

Late Byzantium Reconsidered offers a unique collection of essays analysing the artistic achievements of Mediterranean centres linked to the Byzantine Empire between 1261, when the Palaiologan dynasty re-conquered Constantinople, and the decades after 1453, when the Ottomans took the city, marking the end of the Empire. These centuries were characterised by the rising of socio-political elites, in regions such as Crete, Italy, Laconia, Serbia, and Trebizond, that, while sharing cultural and artistic values influenced by the Byzantine Empire, were also developing innovative and original visual and cultural standards. The comparative and interdisciplinary framework offered by this volume aims to challenge established ideas concerning the late Byzantine period such as decline, renewal, and innovation. By examining specific case studies of cultural production from within and outside Byzantium, the chapters in this volume highlight the intrinsic innovative nature of the socio-cultural identities active in the late medieval and early modern Mediterranean vis-à-vis the rhetorical assumption of the cultural contraction of the Byzantine Empire.

Sacred Shock attempts to lay bare the inner workings of Byzantine art by looking closely at the marginal or subsidiary areas in works of art.

In this book, a distinguished team of authors explores the way space, place, architecture, and ritual interact to construct sacred experience in the historical cultures of the eastern Mediterranean. Essays address fundamental issues and features that enable buildings to perform as spiritually transformative spaces in ancient Greek, Roman, Jewish, early Christian, and Byzantine civilizations. Collectively they demonstrate the multiple ways in which works of architecture and their settings were active agents in the ritual process. Architecture did not merely host events; rather, it magnified and elevated them, interacting with rituals facilitating the construction of ceremony. This book examines comparatively the ways in which ideas and situations generated by the interaction of place, built environment, ritual action, and memory contributed to the cultural formulation of the sacred experience in different religious faiths.

With the exception of Hagia Sophia, no Byzantine monument in the modern city of Istanbul can rival the former church of the monastery of the chora (Kariye Camii). This catalogue brings together scholars who have studied aspects of the Kariye Camii's art, architecture, and history.