Byzantium in Eastern European Visual Culture in the Late Middle Ages


Byzantium in Eastern European Visual Culture in the Late Middle Ages, edited by Maria Alessia Rossi and Alice Isabella Sullivan, engages with issues of cultural contact and patronage, as well as the transformation and appropriation of Byzantine artistic, theological, and political models, alongside local traditions, across Eastern Europe. The regions of the Balkan Peninsula, the Carpathian Mountains, and early modern Russia have been treated in scholarship within limited frameworks or excluded altogether from art historical conversations. This volume encourages different readings of the artistic landscapes of Eastern Europe during the late medieval period, highlighting the cultural and artistic productions of individual centers. These ought to be considered individually and as part of larger networks, thus revealing their shared heritage and indebtedness to artistic and cultural models adopted from elsewhere, and especially from Byzantium.

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Maria Alessia Rossi (PhD, Courtauld Institute of Art, 2017) is an Art History Specialist at the Index of Medieval Art at Princeton University, specializing in the artistic exchanges between the Byzantine Empire, the Balkans, and the West in the Late Middle Ages.
Alice Isabella Sullivan (PhD, University of Michigan, 2017) is a historian of art, architecture, and visual culture, specializing in the artistic production of East-Central Europe and the Byzantine-Slavic cultural spheres between c. 1300 and c. 1700.
"The significance of this collection and of its constitutive papers is reflected in the comprehensive and methodologically innovative way in which it approaches the given topics, looking at them from a long-term perspective, and thus bringing them closer to the modern scholar. The analyzed phenomena are examined from a broad geographical and chronological perspective, which effectively erases the traditional boundaries in the study of medieval art. In other words, this collection looks in an "organic" way at the whole of the analyzed artistic material, unhindered by national frameworks". (translated from Serbian).

Andjela Gavrilovic.

"This is a volume worth reading. Scholars unfamiliar with the late medieval visual culture of the Balkan Peninsula, the Carpathian Mountains, and Russia stand to learn a great deal about a range of little-known yet highly significant artifacts and monuments that often defy scholarly taxonomies. Those already initiated are likely to find themselves questioning many idées reçues."

Ivan Drpić, University of Pennsylvania, in: Speculum 98/1 (January 2023), p. 327
List of Illustrations
Notes on Contributors

Maria Alessia Rossi and Alice Isabella Sullivan

1 The Allegory of Wisdom in Chrelja’s Tower Seen through Philotheos Kokkinos
Justin L. Willson

2 How Byzantine was the Moscow Inauguration of 1498?
Alexandra Vukovich

3 Intellectual Relationships between the Byzantine and Serbian Elites during the Palaiologan Era
Elias Petrou

4 An Unexpected Image of Diplomacy in a Vatican Panel
Marija Mihajlovic-Shipley

5 Byzantine Heritage and Serbian Ruling Ideology in Early 14th-Century Monumental Painting
Maria Alessia Rossi

6 Dečani between the Adriatic Littoral and Byzantium
Ida Sinkević

7 Triconch Churches Sponsored by Serbian and Wallachian Nobility
Jelena Bogdanović

8 Moldavian Art and Architecture between Byzantium and the West
Alice Isabella Sullivan

9 The Byzantine Tradition in Wallachian and Moldavian Embroideries
Henry David Schilb

10 Rethinking the Veglia Altar Frontal from the Victoria and Albert Museum and Its Patron
Danijel Ciković and Iva Jazbec Tomaić

The interdisciplinary scope of this publication makes it appealing to Byzantinists, medievalists, and early modern researchers. In addition to specialists, this volume will appeal to students and a general audience.
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