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.

The essays collected in this book were delivered at the XLII Spring Symposium of Byzantine Studies, held in London in 2009 to accompany the exhibition Byzantium 330-1453, at the Royal Academy. 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. The essays are divided into 3 sections: Exhibiting Byzantium sets the 2009 exhibition into the context of other exhibitions of Byzantine art and considers the issues involved in curating and viewing such major collections of medieval art; Object Lessons offers a set of studies of individual objects that were in the exhibition; Byzantium through its Art moves to consider Byzantine art more widely, thinking about the different ways in which objects can be used to study Byzantine culture and society. These are preceded by an introduction by the editors which sets the volume in context.

The essays collected in this book were delivered at the XLII Spring Symposium of Byzantine Studies, held in London in 2009 to accompany the exhibition Byzantium 330-1453, at the Royal Academy. 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. The essays are divided into 3 sections: Exhibiting Byzantium sets the 2009 exhibition into the context of other exhibitions of Byzantine art and considers the issues involved in curating and viewing such major collections of medieval art; Object Lessons offers a set of studies of individual objects that were in the exhibition; Byzantium through its Art moves to consider Byzantine art more widely, thinking about the different ways in which objects can be used to study Byzantine culture and society. These are preceded by an introduction by the editors which sets the volume in context.

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 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.

Inscriptions convey meaning not just by their contents but also by other means, such as choice of script, location, scale, spatial organisation, letterform, legibility and clarity. The essays in this book consider these visual qualities of inscriptions, ranging across the Mediterranean and the Near East from Spain to Iran and beyond, including Norman Sicily, Islamic North Africa, Byzantium, medieval Italy, Georgia and Armenia. While most essays focus on Late Antiquity and the Middle Ages, they also look back at Achaemenid Iran and forward to Mughal India. Topics discussed include real and pseudo-writing, multilingual inscriptions, graffiti, writing disguised as images and images disguised as words. From public texts set up on mountainsides or on church and madrasa walls to intimate craftsmen's signatures, barely visible on the undersides of precious objects, the inscriptions discussed in this volume reveal their meanings as textual and visual devices.

Essays exploring the influence of the sacred buildings of Jerusalem on architecture worldwide. Jerusalem - earthly and heavenly, past, present and future - has always informed the Christian imagination: it is the intersection of the divine and human worlds, of time and eternity. Since the fourth century, it has been the site of the round Church of the Holy Sepulchre, built over the empty tomb acknowledged by Constantine as the tomb of Christ. Nearly four hundred years later, the Sepulchre's rotunda was rivalled by the octagon of the Dome of the Rock. The city itself and these two glorious buildings within it remain, to this day, the focus of pilgrimage and of intense devotion. Jerusalem and its numinous buildings have been distinctively re-imagined and re-presented in the design, topography, decoration and dedications of some very striking and beautiful churches and cities in Western Europe, Russia, the Caucasus and Ethiopia. Some are famous, others are in the West almost unknown. The essays Inthis richly illustrated book combine to do justice to these evocative buildings' architecture, roles and history. The volume begins with an introduction to the Sepulchre itself, from its construction under Constantine to theCrusaders' rebuilding which survives to this day. Chapters follow on the Dome of the Rock and on the later depiction and signifcance of the Jewish Temple. The essays then move further afeld, uncovering the links between Jerusalemand Byzantium, the Caucasus, Russia and Ethiopia. Northern Europe comes finally into focus, with chapters on Charlemagne's chapel at Aachen, the role of the military orders in spreading the form of the Sepulchre, a gazetteer of English rounds, and studies of London's New Temple. ROBIN GRIFFITH-JONES is Master of the Temple at the Temple Church in London and Senior Lecturer (Theology and Religious Studies) at King's College London. He co-edited The Temple Church in London with David Park (2010). ERIC FERNIE is Director Emeritus of The Courtauld Institute of Art, London. Contributors: Alan Borg, Antony Eastmond, David Ekserdjian, Eric Fernie, Jaroslav Folda, Emmanuel Fritsch, Michael Gervers, Robin Griffith-Jones, Nicole Hamonic, Cecily Hennessy, Robert Hillenbrand, Catherine E. Hundley, Philip J. Lankester, Robin Milner-Gulland, Robert Ousterhout, David W. Phillipson, Denys Pringle, Sebastian Salvado.

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.

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.