This detailed book is among the oldest of the "Greek-style" narrative patternbooks and instruction texts extant. Includes introductory sections on icon painting techniques and describes hundreds of figures of saints, Old and New Testament events, parables, feast days, decorations of churches and color. Compiled on Mt Athos from 1730-1734, from ancient and contemporary sources.

This latest volume in the popular Guide to Imagery series discusses the materials and processes used in eight media: painting, drawing, printmaking, sculpture, mosaics, ceramics, glass, and metalwork. The book provides art enthusiasts with new insights into the creation of many of the world's great masterpieces.

The sixteen studies in this book include six specially translated from Greek and another two published here for the first time. They deal with the art of painting in Crete at a time when the island was under Venetian rule. The main emphasis is on the 15th century and especially on the painter Angelos. More than thirty icons with his signature survive, and at least twenty more can be reliably attributed to him. Angelos was the most significant artist of a particularly significant era. It was at this time that the centre of artistic production migrated from Constantinople, the capital of the Byzantine Empire to Candia, the capital of Venetian-occupied Crete. These studies try to reconstruct the personality of this late Byzantine painter, Angelos, not only through his icons but also through his will (1436), now in the State Archives in Venice. In this context they also explore the status of the Cretan painter in society. The large number of extant Cretan icons clearly indicates the striking increase in production from the 15th century onwards. Similarly, archival documents are used to examine the trade of icons in Crete and the way Cretan artists had to organize their workshops in order to meet the requirements of the market.

The fourteen essays in this collection demonstrate a wide variety of approaches to the study of Byzantine architecture and its decoration, a reflection of both newer trends and traditional scholarship in the field. The variety is also a reflection of Professor Curcic’s wide interests, which he shares with his students. These include the analysis of recent archaeological discoveries; recovery of lost monuments through archival research and onsite examination of material remains; reconsidering traditional typological approaches often ignored in current scholarship; fresh interpretations of architectural features and designs; contextualization of monuments within the landscape; tracing historiographic trends; and mining neglected written sources for motives of patronage. The papers also range broadly in terms of chronology and geography, from the Early Christian through the post-Byzantine period and from Italy to Armenia. Three papers examine Early Christian monuments, and of these two expand the inquiry into their architectural afterlives. Others discuss later monuments in Byzantine territory and monuments in territories related to Byzantium such as Serbia, Armenia, and Norman Italy. No Orthodox church being complete without interior decoration, two papers discuss issues connected to frescoes in late medieval Balkan churches. Finally, one study investigates the continued influence of Byzantine palace architecture long after the fall of Constantinople.

Winner of the 2023 Early Slavic Studies Book Prize from the Early Slavic Studies Association (ESSA) (Best book) Medieval Moldavia – which was located within present-day northeastern Romania and the Republic of Moldova – developed a bold and eclectic visual culture beginning in the 15th century. Within this networked Carpathian Mountain region, art and architecture reflect the creativity and diversity of the cultural landscapes of Eastern Europe. Moldavian objects and monuments – ranging from fortified monasteries and churches enveloped in fresco cycles to silk embroideries, delicately carved woodwork and metalwork, as well as manuscripts gifted to Mount Athos and other Christian centers – negotiate the complex issues of patronage and community in the region. The works attest to processes of cultural contact and translation, revealing how Western medieval, Byzantine, and Slavic traditions were mediated in Moldavian contexts in the post-Byzantine period. Winner of the 2023 Early Slavic Studies Book Prize, awarded by the Early Slavic Studies Association (ESSA) for the best book published between Sept 1, 2021 and August 31, 2023 in the field of Early Slavic Studies (pre-1800). The awarding committee praised the volume as ‘the first English monograph to provide a comprehensive overview of Moldavia's artistic and architectural landscape during the 15th and 16th centuries, locating the region as a significant facet in the global map of art history.’ Official ESSA announcement.

Written over nearly three decades, the fifteen essays involve the three a's of the title, art, agency, and appreciation. The first refers to the general subject matter of the book, Byzantine art, chiefly painting, of the twelfth through the fourteenth centuries, the second to its often human-like agency, and the last to its historical reception. Responding to different issues and perspectives that have animated art history and Byzantine studies in recent decades, the essays have wide theoretical range from art historical formalism, iconography, archaeology and its manuscript equivalent codicology, to statistics, patronage, narratology, and the histories of science and collecting. The series begins with art works themselves and with the imagery and iconography of church decoration and manuscript illumination, shifts to the ways that objects act in the world and affect their beholders, and concludes with more general appreciations of Byzantine art in case studies from the thirteenth century to the present.

St. Sabas (439-532 CE), was one of the principal leaders of Palestinian monasticism, that had flourished in the sixth century in the desert of Jerusalem. As an abbot he was the first in Palestine to formulate a monastic rule in writing, and his activity as an ecclesiastical leader bore upon the life of the entire Christian community in the Holy land. He and his monks were active in the theological disputes that affected the fate of the Christian Church of Palestine, and shaped it as a stronghold of Orthodoxy. But his activity has transcended his place and time. His largest monastery - the Great Laura (Mar saba), functioned from the sixth to the ninth century as the intellectual centre of the See of Jerusalem. The most distinguished among its authors were Cyril of Scythopolis, Leontius of Byzantium, John Moschus and Sophronius, Antiochus Monachos, John of Damascus, Cosmas the Hymnographer, Leontius of Damascus and Stephen Mansur. Their treatises on dogma, and prayer, shaped Orthodox theology, liturgy and hymnography in Palestine and beyond. This literary activity in Greek was complemented by scribal activity of copying and translating of Greek manuscripts into Arabic and Georgian. There was also original composition in Arabic by Theodore Abu Qurrah and others. Monastic life in Mar Saba, that continued under Muslim rule with only short intermissions, preserved the Sabaite tradition, and contributed to its reputation, parallel to that of Jerusalem. Sabaite monks were renown as paragons of monasticism and dogma, who had inspired monastic and ecclesiastical reformers in later centuries throughout the Orthodox world. Its fame spread far and wide, from Rome and North Africa in the west, to Serbia, Russia and Georgia in the east, affecting Christian dogma and liturgy therein. The thirty-one studies included in this volume, each written by an expert in his field, present the various facets of the Sabaite heritage in the Orthodox Church, from the sixth century to the present.

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.