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.
This latest volume in The Metropolitan Museum of Art symposia series reprises The Met’s blockbuster exhibition Armenia! (2018–19)—the first major exhibition on the art of this highly influential culture at the crossroads of the eastern and western worlds. Building on the pioneering work of those who first established Armenian studies in America, these essays by a new generation of scholars address Armenia’s roles in facilitating exchange with the Mongol, Ottoman, and Persian empires to the East and with Byzantium and European Crusader states to the West. Contributors explore the effects of this tension in the history of Armenian art and how those histories persist into the present, as Armenia continues to grapple with the legacy of genocide and counters new threats to its sovereignty, integrity, and culture.
This book tells the compelling story of a Christian noblewoman named Tamta in the thirteenth century. Born to an Armenian family at the court of queen Tamar of Georgia, she was ransomed in marriage to nephews of Saladin after her father was captured during a siege. She was later raped and then married by the Khwarazmshah and held hostage by the Mongols, before being made an independent ruler under them in eastern Anatolia. Her tale stretches from the Mediterranean to Mongolia and reveals the extraordinary connections across continents and cultures that one woman could experience. Without a voice of her own, surviving monuments - monasteries and mosques, caravanserais and palaces - build up a picture of Tamta's world and the roles women played in it. The book explores how women's identities changed between different courts, with shifting languages, religions and cultures, and between their roles as daughters, wives, mothers and widows.
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.
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.
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