Each chapter of this volume provides a window into the vibrant world of Middle and Late Byzantium, offering new insights into the complexities of Byzantine ecclesiastical spaces. This illuminating exploration reaches beyond the traditional focus on churches solely as buildings, unveiling the complex tapestry of cultural and social dynamics contained therein. From the towering monuments of Constantinople to hidden gems scattered throughout the empire, the scholars gathered here chart a new course, embracing inclusivity and diachronic perspectives. They trace not only architectural typologies but also material culture, ritual contexts, and sensory experiences, reaching a holistic understanding of the church building. Insights from archaeology, art history, anthropology, and other fields paint a nuanced picture of how Byzantine churchesincluding the subtleties of sculpted decorations, painted frescoes, and architectural elementsfunctioned within their communities and historical contexts. Blending regional specificities with global perspectives and sensitivity for the intricate interplay of history, culture, and human agency embodied in these enduring edifices, Religious Buildings Made in Byzantium: Old Monuments New Interpretations challenges conventional narratives through a set of compelling journeys into the rich legacy of Byzantine religious architecture.

Argues for a holistic approach to Byzantine religious buildings, integrating diverse and multidisciplinary perspectives Challenges Constantinople-centered narratives and explores regional practices that shaped a common building tradition Outlines features that define Byzantine religious architecture as a complex cultural tradition with global significance

Autorentext

Ivana Jevti is an assistant professor at Koç University, Istanbul.

Nikos D. Kontogiannis serves as the Director of Byzantine Studies at Dumbarton Oaks, Washington DC.

Neboja Stankovi is an assistant professor at the University of Pritina in Kosovska Mitrovica.

Inhalt

1: En Lieu of an Introduction.- Part I: A Byzantine Eye: Perceptions and the Role of Decoration .- 2: A Medieval Eye: The Perception of the Exteriors of Byzantine Church Buildings and Their Communication with the Urban Fabric as Guiding Forces in the Design Process.- 3: Sculpture and the Embellishment of the Church Interior: A Multi-media Approach.- 4: Art Technology: Bridging the Gap between Church Architecture and Wall Paintings in the Middle and Late Byzantine World.- Part II: Constituent Parts and Space .- 5: Experiencing the Portico Spaces of Middle and Late Byzantine Monastic Churches.- 6: The Architectural and Decorative Aspects of Chapels above the Sanctuary: The Case of Saint Sophia at Ohrid.- Part III: Liturgy, Movement and Space .- 7: From a Den of Thieves to a House of Sparkling Gems: The Armenian Reconsecration of a Polluted Church.- 8: The Cathedral as the Ambo of the Byzantine City During Liturgical Processions and Rituals in the Public Space: Some Observations, Thoughts, and Questions Regarding the Principal Churches of the Thessalonian Episcopal See.- Part IV: Social Affiliations .- 9: The Architecture of Religious Affiliation: Lessons from the Middle Byzantine Monastic Communities in Central Greece.- 10: Religious Architecture and Insularity in the Byzantine, Frankish, and Ottoman Aegean: The Case of Andros.- 11: Galleries and Upper Spaces in Byzantine Churches: Their Role in the Evolution of Byzantine Religious Architecture.- Part V: Long Lives of Buildings and Interpretations. - 12: A Phantom in Byzantine Constantinople: Revisiting the Mangana Complex and the Church of St. George of Mangana Through Archaeology.- 13: The Laskarid Architectural Production Revisited: The Question of Eclectic Style and What is Byzantine about Byzantine Architecture.- 14: The church of Mor Addai in Beth Ishoq (Baakköy).