Antony Eastmond

The eastern frontier of Byzantium and the interaction of the peoples that lived along it are the themes of this book. With a focus on the ninth to thirteenth centuries and dealing with both art history and history, the essays provide reconsiderations of Byzantine policy on its eastern borders, new interpretations and new materials on Byzantine relations with the Georgians, Armenians and Seljuqs, as well as studies on the writing of history among these peoples. Presenting research from Russia and Georgia as well as Europe and the USA, the contributors stress the interaction and interdependence of all the peoples along this frontier zone, and consider the different ways in which the political and cultural power of Byzantium was appropriated. They provide important comparative evidence for the relationship between local and Byzantine cultures, and open up new avenues for research into the history of eastern Anatolia and the Caucasus. The volume arises from the thirty-third Spring Symposium of Byzantine Studies held at the University of Warwick in March 1999.

Papers from the Thirty-Third Spring Symposium of Byzantine Studies, University of Warwick, Coventry, March 1999

Eastern Approaches to Byzantium

"This book has been published on the occasion of the exhibition "Byzantium's other empire: Trebizond" at Kooc University Research Center for Anatolian Civilizations, Istanbul, June 24-September 18 2016. A Turkish edition appears under the title "Bizens'n eoteki imparatorlugu: Trabzon."

Trebizond

Byzantium's Other Empire

The church of Hagia Sophia in Trebizond, built by the emperor Manuel I Grand Komnenos (1238-63) in the aftermath of the fall of Constantinople to the Fourth Crusade, is the finest surviving Byzantine imperial monument of its period. Art and Identity in Thirteenth-Century Byzantium is the first investigation of the church in more than thirty years, and is extensively illustrated in colour and black-and-white, with many images that have never previously been published. Antony Eastmond examines the architectural, sculptural and painted decorations of the church, placing them in the context of contemporary developments elsewhere in the Byzantine world, in Seljuq Anatolia and among the Caucasian neighbours of Trebizond. Knowledge of this area has been transformed in the last twenty years, following the collapse of the Soviet Union. The new evidence that has emerged enables a radically different interpretation of the church to be reached, and raises questions of cultural interchange on the borders of the Christian and Muslim worlds of eastern Anatolia, the Caucasus and Persia. This study uses the church and its decoration to examine questions of Byzantine identity and imperial ideology in the thirteenth century. This is central to any understanding of the period, as the fall of Constantinople in 1204 divided the Byzantine empire and forced the successor states in Nicaea, Epiros and Trebizond to redefine their concepts of empire in exile. Art is here exploited as significant historical evidence for the nature of imperial power in a contested empire. It is suggested that imperial identity was determined as much by craftsmen and expectations of imperial power as by the emperor's decree; and that this was a credible alternative Byzantine identity to that developed in the empire of Nicaea.

Hagia Sophia and the Empire of Trebizond

Art and Identity in Thirteenth-Century Byzantium

Liz James

"The essays collected in this book were delivered at the XLII Spring Symposium of Byzantine Studies, held in London [at King's College and at the Courtauld Institute of Art] in 2009 to accompany the exhibition Byzantium 330-1453, at the Royal Academy [held October 25, 2008-March 22, 2009; a collaboration between the Royal Academy of Arts and the Benaki Museum in Athens]. The exhibition was one of the most ambitious and complex exhibitions ever mounted at the Royal Academy, as well as one of the most popular, and the overall aim of the book is to reflect on the exhibition of Byzantine art, both as an academic and popular exercise, and through the choice and discussion of individual objects. Exhibitions present a very different picture of Byzantium and its culture from works of history. The choices of object for display, their arrangement, and the underlying aims of exhibition curators and designers mean that every exhibition presents a different picture of Byzantium. Particular emphases can be placed, whether on everyday life or high court culture; Constantinople or the provinces; or claims of continuity or change over the Byzantine millennium. The essays explore aspects of the image of Byzantium that results from these choices. Given the enormous popularity of exhibitions of Byzantine objects (continued after the completion of this volume by exhibitions in Paris, Bonn and Istanbul), art has become one of the most popular and accessible means of popularizing Byzantium to a wide public audience. Hitherto there has been no general consideration of either the historiography of Byzantine exhibitions or the ways in which they have been set up to present different aspects of Byzantine culture to an academic and general public.

Byzantium Through Its Art : Papers from the Forty-second Spring Symposium of Byzantine Studies, London, 20-22 March 2009

Wonderful Things

The compelling story of a thirteenth-century Christian noblewoman ransomed to the family of Saladin, made a ruler by the Mongols, and with extraordinary connections across continents and cultures from the Mediterranean to Mongolia. This book will be important for students and scholars of Byzantine, Crusader and Islamic history, art and architecture.

Tamta's World

A picture-driven account of this important period in the proven successful format of Egypt -- 4000 Years of Art (Phaidon 2003). Presenting 300 artworks from the years 240 to 1453, The Glory of Byzantium and Early Christendom encapsulates the development of art in eastern Europe and eastern Mediterranean from the very early days of Christianity to the fall of Constantinople. From architecture to jewellery, from coins to paintings, from mosaics to book illuminations, Byzantine art in all its forms is explored. Unique not only for its extensive variety of art forms, the book also has a vast geographic scope, including art from Britain to Syria, from Spain to Turkey, from Egypt to Georgia. A sumptuous volume with stunning illustrations and concise descriptions, it places each artwork in its social, religious and political context, with an informative survey of its significance in this history of Byzantine art. A book for dipping into, as well as an inspiring, authoritative appraisal of this magnificent millennium of artistic culture.

The Glory of Byzantium and Early Christendom

This book considers the visual qualities of inscriptions from a cross-cultural perspective focusing on the period from Late Antiquity to the Middle Ages.

Antony Eastmond

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