Actual Problems of Theory and History of Art: Collection of articles. Vol. 9. Ed: A. V. Zakharova, S. V. Maltseva, E. Iu. Staniukovich-Denisova. — Lomonosov Moscow State University / St. Petersburg: NP-Print, 2019, pp. 262–274
Byzantion and Byzantium: the provincialism of the center and the centrality of the provinces, ed. by S. Ivanov and A. Vinogradov, Saint-Petersburg 2020, pp. 154-174, 2020
Ekphrasis, a detailed description of an object or event, is an important form of Byzantine rhetor... more Ekphrasis, a detailed description of an object or event, is an important form of Byzantine rhetoric. Churches often became objects of such descriptions. The church ekphrasis can be treated as a special subgenre with its own canons and etiquette norms. To study these norms, to trace their evolution, to reveal its background is an important task of Byzantine studies. In the present article, we concentrate on one aspect of this topic. We analyze what the structure of the church ekphrasis was, in what order the verbal image of the sacral space was constructed, what compositional methods were used for this. A large number of sources has been analyzed, including “The Buildings” of Procopius of Caesarea, the description of Hagia Sophia of Paul Silentiarios, homilies of Photius and Leo VI the Philosopher, the ekphrasis of the Church of the Holy Apostles of Constantine of Rhodes and other texts. It is demonstrated that, for several centuries, the genre norms changed considerably: the Early Byzantine ekphraseis have a complex structure and pay attention to both architecture and decoration of buildings; in the 9th–12th centuries this scheme is simplified, architectural forms are usually ignored, the churches are described symbolically, according to the principle “the church as a model of the universe”. The literary and architectural factors that conditioned this evolution are discussed.
The article closes a series of our research works aimed at identification of the images of saints... more The article closes a series of our research works aimed at identification of the images of saints in the frescoes of St. Sophia of Kiev. In this study we investigated the images in the central nave, where martyrs predominate. Images placed in the lower tier have particular significance, especially the holy warriors and other saints depicted on the central piers. Some of these probably had special connection with the grand prince Yaroslav’s family members. Besides these, we suggest some other identifications, including the Holy Five Martyrs of Sebasteia in the northern arm of the cross and a group of holy doctors in the southern arm of the cross
The article surveys the stylistic development in Byzantine painting from the second half of the 1... more The article surveys the stylistic development in Byzantine painting from the second half of the 10th to early 11th c. as exemplified by the murals in cave churches of Cappadocia. The author concentrates on some dated and undated wall paintings whose artistic qualities so far have not been studied sufficiently. As soon as coeval icons and monumental painting in Constantinople and other European territories of the Byzantine Empire have not survived in sufficient quantities, the Cappadocian materials permit to make up for deficiency in our views on the development of Byzantine art of that period, from the mid-10th c. classicism of the Macedonian Renaissance to the so-called ‘ascetic trend’ in the second quarter of the 11th c.
The article deals with a little known ensemble of wall paintings at the Church of the Saviour in ... more The article deals with a little known ensemble of wall paintings at the Church of the Saviour in Chvabiani, Upper Svaneti, Georgia. The initial decoration of the church dated to 978– 1001 has survived mainly in the apse. The badly preserved Theophany in the conch attracted the attention of scholars who analyzed its iconography. The Apostles in the lower zone, however, were considered to be repainted at a later date. Our examination of these wall paintings revealed no traces of later additions. Through the analysis of technique and style we aim to prove that the both compositions belong to the turn of the tenth to eleventh century. These wall paintings show unusually high quality and close affinities with Byzantine art of this period. In our view, they could be a work of a visiting artist, probably a Georgian trained at some major Byzantine artistic center. He may well have been among the artists working on wall paintings at the cathedrals built and decorated by order of kings and church hierarchs during the late tenth to early eleventh centuries, in Tao-Klarjeti or other lands of the Georgian kingdom still under formation.
The paper is an analytical publication of documents on the wall paintings in three Trebizond chur... more The paper is an analytical publication of documents on the wall paintings in three Trebizond churches discovered by Fyodor Uspenskij’s expedition: St. Anne, the so-called Palace church and St. Eugenios (the present day Yeni-Djuma mosque). As soon as the Palace church no longer survives and the wall paintings in the other two churches have been destroyed or white-washed, the archival photographs (prints and negatives) identified by the authors remain unique sources on these monuments. Basing on this material, the authors suggest attributions of compositions and discuss the dating of the wall paintings. Hopefully these suggestions would be corroborated by further research on the remaining monuments
Московский государственный университет имени М.В. Ломоносова Государственный Эрмитаж Актуальные п... more Московский государственный университет имени М.В. Ломоносова Государственный Эрмитаж Актуальные проблемы теории и истории искусства VII Сборник научных статей Санкт-Петербург 2017 Восточнохристианское искусство 205 УДК: 72.033; 82(091) ББК: 63.3(0)4; 83.3(0)4; 85.11 А43
Каково отношение к античности византийского искусства? С одной стороны, очевидна преемственность ... more Каково отношение к античности византийского искусства? С одной стороны, очевидна преемственность второго от первой; с другой стороны, очевидно и отличие или даже отмежевание и противопоставление. Эта двойственность впервые была осознана учеными на рубеже XIX-XX вв., когда происходило выделение византийского искусства в самостоятельный предмет исследований. Поворот, который происходит в развитии средиземноморской культуры в эпоху поздней античности и раннего христианства, по-разному осмысляют в своих выдающихся трудах Д. В. [1], А. Ригль [58], Й. Стржиговский [63], М. Дворжак [31] 2 . На протяжении XX в. ученые постоянно обращались к теме античного наследия в культуре Византии. Условно можно выделить три основных подхода к ней, которые нередко соединяются и продолжают развиваться в начавшемся XXI столетии. Такие ученые, как К. Вайцман [65; 66], Х. Бухталь [26], Х. Белтинг [25], Й. Стржиговский [62; 63], К. Манго [45; 46], придавали большое значение поиску античных «обломков» и «цитат», проблеме образцов и копий, особенно в периоды так называемых «ренессансов» -Македонского и Палеологовского, когда обращение к прошлому имело программный характер. Другие исследователи, стремясь акцентировать своеобразие собственно византийского искусства, сосредотачивались на трансформации, переосмыслении античных традиций в архитектуре и изобразительном искусстве как самой Византии, так и входивших в ее культурную орбиту стран (О. Демус [28; 29], А. Грабар [32; 33], В. Н. Лазарев [12], Р. Краутхаймер [41; 42], А. И. Комеч [5; 6], Р. Остерхут [17; 55; 56], Т. Мэтьюз [51]). Третьи скорее склонны рассматривать все византийское тысячелетие как продолжение жизни античной художественной традиции, одухотворенной христианством (Э. Кицингер [39], О. С. Попова [18-20]).
Actual Problems of Theory and History of Art: Collection of articles. Vol. 9. Ed: A. V. Zakharova, S. V. Maltseva, E. Iu. Staniukovich-Denisova. — Lomonosov Moscow State University / St. Petersburg: NP-Print, 2019, pp. 262–274
Byzantion and Byzantium: the provincialism of the center and the centrality of the provinces, ed. by S. Ivanov and A. Vinogradov, Saint-Petersburg 2020, pp. 154-174, 2020
Ekphrasis, a detailed description of an object or event, is an important form of Byzantine rhetor... more Ekphrasis, a detailed description of an object or event, is an important form of Byzantine rhetoric. Churches often became objects of such descriptions. The church ekphrasis can be treated as a special subgenre with its own canons and etiquette norms. To study these norms, to trace their evolution, to reveal its background is an important task of Byzantine studies. In the present article, we concentrate on one aspect of this topic. We analyze what the structure of the church ekphrasis was, in what order the verbal image of the sacral space was constructed, what compositional methods were used for this. A large number of sources has been analyzed, including “The Buildings” of Procopius of Caesarea, the description of Hagia Sophia of Paul Silentiarios, homilies of Photius and Leo VI the Philosopher, the ekphrasis of the Church of the Holy Apostles of Constantine of Rhodes and other texts. It is demonstrated that, for several centuries, the genre norms changed considerably: the Early Byzantine ekphraseis have a complex structure and pay attention to both architecture and decoration of buildings; in the 9th–12th centuries this scheme is simplified, architectural forms are usually ignored, the churches are described symbolically, according to the principle “the church as a model of the universe”. The literary and architectural factors that conditioned this evolution are discussed.
The article closes a series of our research works aimed at identification of the images of saints... more The article closes a series of our research works aimed at identification of the images of saints in the frescoes of St. Sophia of Kiev. In this study we investigated the images in the central nave, where martyrs predominate. Images placed in the lower tier have particular significance, especially the holy warriors and other saints depicted on the central piers. Some of these probably had special connection with the grand prince Yaroslav’s family members. Besides these, we suggest some other identifications, including the Holy Five Martyrs of Sebasteia in the northern arm of the cross and a group of holy doctors in the southern arm of the cross
The article surveys the stylistic development in Byzantine painting from the second half of the 1... more The article surveys the stylistic development in Byzantine painting from the second half of the 10th to early 11th c. as exemplified by the murals in cave churches of Cappadocia. The author concentrates on some dated and undated wall paintings whose artistic qualities so far have not been studied sufficiently. As soon as coeval icons and monumental painting in Constantinople and other European territories of the Byzantine Empire have not survived in sufficient quantities, the Cappadocian materials permit to make up for deficiency in our views on the development of Byzantine art of that period, from the mid-10th c. classicism of the Macedonian Renaissance to the so-called ‘ascetic trend’ in the second quarter of the 11th c.
The article deals with a little known ensemble of wall paintings at the Church of the Saviour in ... more The article deals with a little known ensemble of wall paintings at the Church of the Saviour in Chvabiani, Upper Svaneti, Georgia. The initial decoration of the church dated to 978– 1001 has survived mainly in the apse. The badly preserved Theophany in the conch attracted the attention of scholars who analyzed its iconography. The Apostles in the lower zone, however, were considered to be repainted at a later date. Our examination of these wall paintings revealed no traces of later additions. Through the analysis of technique and style we aim to prove that the both compositions belong to the turn of the tenth to eleventh century. These wall paintings show unusually high quality and close affinities with Byzantine art of this period. In our view, they could be a work of a visiting artist, probably a Georgian trained at some major Byzantine artistic center. He may well have been among the artists working on wall paintings at the cathedrals built and decorated by order of kings and church hierarchs during the late tenth to early eleventh centuries, in Tao-Klarjeti or other lands of the Georgian kingdom still under formation.
The paper is an analytical publication of documents on the wall paintings in three Trebizond chur... more The paper is an analytical publication of documents on the wall paintings in three Trebizond churches discovered by Fyodor Uspenskij’s expedition: St. Anne, the so-called Palace church and St. Eugenios (the present day Yeni-Djuma mosque). As soon as the Palace church no longer survives and the wall paintings in the other two churches have been destroyed or white-washed, the archival photographs (prints and negatives) identified by the authors remain unique sources on these monuments. Basing on this material, the authors suggest attributions of compositions and discuss the dating of the wall paintings. Hopefully these suggestions would be corroborated by further research on the remaining monuments
Московский государственный университет имени М.В. Ломоносова Государственный Эрмитаж Актуальные п... more Московский государственный университет имени М.В. Ломоносова Государственный Эрмитаж Актуальные проблемы теории и истории искусства VII Сборник научных статей Санкт-Петербург 2017 Восточнохристианское искусство 205 УДК: 72.033; 82(091) ББК: 63.3(0)4; 83.3(0)4; 85.11 А43
Каково отношение к античности византийского искусства? С одной стороны, очевидна преемственность ... more Каково отношение к античности византийского искусства? С одной стороны, очевидна преемственность второго от первой; с другой стороны, очевидно и отличие или даже отмежевание и противопоставление. Эта двойственность впервые была осознана учеными на рубеже XIX-XX вв., когда происходило выделение византийского искусства в самостоятельный предмет исследований. Поворот, который происходит в развитии средиземноморской культуры в эпоху поздней античности и раннего христианства, по-разному осмысляют в своих выдающихся трудах Д. В. [1], А. Ригль [58], Й. Стржиговский [63], М. Дворжак [31] 2 . На протяжении XX в. ученые постоянно обращались к теме античного наследия в культуре Византии. Условно можно выделить три основных подхода к ней, которые нередко соединяются и продолжают развиваться в начавшемся XXI столетии. Такие ученые, как К. Вайцман [65; 66], Х. Бухталь [26], Х. Белтинг [25], Й. Стржиговский [62; 63], К. Манго [45; 46], придавали большое значение поиску античных «обломков» и «цитат», проблеме образцов и копий, особенно в периоды так называемых «ренессансов» -Македонского и Палеологовского, когда обращение к прошлому имело программный характер. Другие исследователи, стремясь акцентировать своеобразие собственно византийского искусства, сосредотачивались на трансформации, переосмыслении античных традиций в архитектуре и изобразительном искусстве как самой Византии, так и входивших в ее культурную орбиту стран (О. Демус [28; 29], А. Грабар [32; 33], В. Н. Лазарев [12], Р. Краутхаймер [41; 42], А. И. Комеч [5; 6], Р. Остерхут [17; 55; 56], Т. Мэтьюз [51]). Третьи скорее склонны рассматривать все византийское тысячелетие как продолжение жизни античной художественной традиции, одухотворенной христианством (Э. Кицингер [39], О. С. Попова [18-20]).
The collection of articles is the publication of the materials of the 7th International Conferenc... more The collection of articles is the publication of the materials of the 7th International Conference “Actual Problems of Theory and History of Art” held in St. Petersburg on October 11–15, 2016. The articles in Russian and in English present the results of research in the art of the Ancient World, Byzantium, Old Rus’, Western Europe of the Middle Ages and Renaissance, theory of art, oriental art, cult and artistic culture, as well as publication and study of sources, and reviews.
The edition is addressed to art historians, historians, art students and art lovers.
The collection of articles is the publication of the materials of the 6th International Conferenc... more The collection of articles is the publication of the materials of the 6th International Conference “Actual Problems of Theory and History of Art” held in Moscow on October 27-31, 2015. The articles in Russian and in English present the results of research in the art of the Ancient World, Byzantium, Western Europe and Russia from the Middle Ages to the 21st c. and theory of art.
The edition is addressed to art historians, historians, art students and art lovers.
Сборник научных статей содержит материалы 6-й Международной конференции «Актуальные проблемы теории и истории искусства», проходившей в Москве 27-31 октября 2015 г. В статьях на русском и английском языках представлены результаты исследований в области изучения искусства Древнего мира, Византии, Западной Европы и России от Средневековья до XXΙ вв., а также теории искусства.
Издание предназначено в первую очередь для специалистов. Может быть использовано в учебной, научно-практической деятельности, а также интересно широкому кругу любителей искусства.
The collection of articles presents the materials of the 5th International Annual Conference, hel... more The collection of articles presents the materials of the 5th International Annual Conference, held in St. Petersburg on October 28 — November 1, 2014. It deals with the actual problems of art history and theory on the basic theme “Images of Classical Antiquity. The Art of the Ancient World and Its Heritage in the World Culture”. The articles in Russian and in English present the results of research in the art of the Ancient World, Byzantium, Western Europe and Russia from the Middle Ages to the 21th c. and theory of art. The edition is addressed to art historians, historians, art students and art lovers.
Сборник научных статей содержит материалы 5-й ежегодной Международной конференции «Актуальные проблемы теории и истории искусства», проходившей в Петербурге 28 октября — 1 ноября 2014 г., по теме «Образы классической древности. Искусство античного мира и его наследие в мировой художественной культуре». В статьях на русском и английском языках представлены результаты исследований в области изучения искусства Древнего мира, Византии, Западной Европы и России от Средневековья до XXI в., а также теории искусства.
Издание предназначено для специалистов. Может быть использовано в учебной, научно-практической деятельности, а также интересно широкому кругу любителей искусства.
The collection of articles is the publication of the materials of the 7th International Conferenc... more The collection of articles is the publication of the materials of the 7th International Conference “Actual Problems of Theory and History of Art” held in St. Petersburg on October 11-15, 2016. The articles in Russian and in English present the results of research in the art of the Ancient World, Byzantium, Old Rus’, Western Europe of the Middle Ages and Renaissance, theory of art, oriental art, cult and artistic culture, as well as publication and study of sources, and reviews.
The edition is addressed to art historians, historians, art students and art lovers.
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Papers by Anna Zakharova
The edition is addressed to art historians, historians, art students and art lovers.
The edition is addressed to art historians, historians, art students and art lovers.
Сборник научных статей содержит материалы 6-й Международной конференции «Актуальные проблемы теории и истории искусства», проходившей в Москве 27-31 октября 2015 г. В статьях на русском и английском языках представлены результаты исследований в области изучения искусства Древнего мира, Византии, Западной Европы и России от Средневековья до XXΙ вв., а также теории искусства.
Издание предназначено в первую очередь для специалистов. Может быть использовано в учебной, научно-практической деятельности, а также интересно широкому кругу любителей искусства.
Сборник научных статей содержит материалы 5-й ежегодной Международной конференции «Актуальные проблемы теории и истории искусства», проходившей в Петербурге 28 октября — 1 ноября 2014 г., по теме «Образы классической древности. Искусство античного мира и его наследие в мировой художественной культуре». В статьях на русском и английском языках представлены результаты исследований в области изучения искусства Древнего мира, Византии, Западной Европы и России от Средневековья до XXI в., а также теории искусства.
Издание предназначено для специалистов. Может быть использовано в учебной, научно-практической деятельности, а также интересно широкому кругу любителей искусства.
The edition is addressed to art historians, historians, art students and art lovers.